SCREAM 5: GHOSTFACE RADIO
by Billy Bob D
Summary: Ghostface plays their most dangerous game ON THE AIR with movie buffs Kirby Reed & Roy Popper! See what fans are SCREAMING about and read this now classic and beloved "refreshing, exciting take on the series where the intensity never drops a notch!"
1. The Opening Scene

OPEN ON:  
>INT. MACK'S RESIDENCE - NIGHT<br>A phone rings, the oh-so familiar sound of an impending harrowing doom. SHIRLEY, 17, red head with matching red glasses and athletically built picks up the phone. With a coy smile, she looks at the caller ID and answers.

OPERATING SYSTEM  
>Your call may be monitored by the Woodsboro<br>Police Department for your protection.

The phone beeps, switching over to the call.

SHIRLEY  
>Richie, where are you, sweetie?<p>

RICHIE (O.S.)  
>I'm on my way, darling. I just got caught<br>up at the gas station, some guy was bumming  
>for some change.<p>

SHIRLEY  
>Typical of you to help him.<p>

RICHIE (O.S.)  
>I'm a nice guy, what can I say?<p>

SHIRLEY  
>Where are you exactly?<p>

RICHIE (O.S.)  
>Passing the farm, I'll be there in literally<br>two minutes.

SHIRLEY  
>All right, call or text when you pull in.<p>

She hangs up without saying "bye" in typical movie fashion. She begins to walk away from the phone and it rings again. In confusion, she returns back and answers.

OPERATING SYSTEM  
>Your call may be monitored by the Woodsboro<br>Police Department for your protection.

SHIRLEY  
>That was fast.<p>

RICHIE (O.S.)  
>Eh, I wanted to give you the element of<br>surprise.

INT. DOORWAY - CONT'D  
>Shirley opens the door - nobody is there. A car is seen coming in the distance.<p>

SHIRLEY  
>I thought you said you were here?<p>

RICHIE (O.S.)  
>I am.<p>

SHIRLEY  
>(beat)<br>I can see your car coming down the road.

RICHIE (O.S.)  
>Shirley, I'm right here...<p>

Shirley pans her front yard. There's no car parked next to her Bug.

SHIRLEY  
>Is this some type of game?<p>

RICHIE (O.S.)  
>You would like that, wouldn't you?<p>

SHIRLEY  
>Richie, stop fucking around, where are<br>you?

She turns around - SMACK she walks into RICHIE, tall and athletic jock with letterman's jacket and all. She screams from being startled.

RICHIE  
>I said I was right here.<p>

SHIRLEY  
>You scared the shit outta me! Where'd you<br>park?

RICHIE  
>I wanted to surprise you, so I parked in<br>the back and came in through the back door.

SHIRLEY  
>(still breathing heavy)<br>Did you lock it?

RICHIE  
>(eyes shift)<br>Of course.

SHIRLEY  
>You sure, Rich?<p>

They walk towards the entertainment room.

INT. ENTERTAINMENT ROOM - CONT'D  
>Richie jumps on the couch, throws his feet up on the table.<p>

RICHIE  
>So what are we watching tonight?<p>

SHIRLEY  
>I don't know, there's nothing On Demand<br>that we haven't already seen.

She sits down next to him, cuddling up in his arms.

RICHIE  
>Wanna actually go to the movies?<p>

SHIRLEY  
>Right. And listen to 12 year olds scream<br>annoyingly at every loud startling sound  
>and squeal when Edward Cullen comes on the<br>screen? No thanks.

RICHIE  
>C'mon, it might be fun. Plus I wanna show<br>off my new girl to the town.

SHIRLEY  
>(smiles)<br>Really?

RICHIE  
>Yeah... c'mon.<p>

SHIRLEY  
>Okay, I'll go grab the newspaper.<p>

Shirley gets up and walks out of the room.

RICHIE  
>We can just find out showtimes on my<br>phone, what do we need a paper for?

SHIRLEY  
>I thought we were being old fashioned?<p>

RICHIE  
>Your call.<p>

Richie's cell vibrates. He looks at the caller ID: Shirley. Confused, he answer. The operating system announcement comes on again.

RICHIE  
>You couldn't just shout the showtimes to<br>me from across the house?

SHIRLEY  
>No, I thought it'd be more fun this way.<br>Help me pick out something you wanna see.

RICHIE  
>Sure, what's playing?<p>

SHIRLEY  
>Well... to narrow it down, I'll ask you<br>some questions.

RICHIE  
>Haha, okay.<p>

GHOSTFACE  
>WHAT'S YOUR FAVORITE SCARY MOVIE?<p>

The voice has changed to the iconic creepy voice from the "Stab" films. Richie just laughs and gets up.

RICHIE  
>Haha, Shirley, you might not wanna do that.<br>The police may come busting down your door  
>for using that app.<p>

GHOSTFACE  
>Answer the question.<p>

RICHIE  
>Heh, okay - uh, well... Halloween.<p>

GHOSTFACE  
>Which one?<p>

RICHIE  
>Ugh, I don't know, Shirley, I'm just going<br>along with the theme you've implemented  
>here.<p>

Shirley comes walking in, newspaper in hand.

SHIRLEY  
>Okay - Julia Roberts has a new movie out.<br>You down for a chick flick?

She looks up with a smile at Richie, who is pale white.

RICHIE  
>How are you -<p>

SHIRLEY  
>What?<p>

RICHIE  
>You called me from your phone and -<p>

SHIRLEY  
>No, I lost my phone like 2 days ago. Is<br>someone calling you to return it?

RICHIE  
>(beat)<br>I don't think so.

Richie puts the phone on speakerphone.

GHOSTFACE  
>Aw, now I have you both. You two look<br>so cute together... Richie and Shirley,  
>sitting in a tree... D - Y - I - N - G.<p>

RICHIE  
>Who the fuck is this?<p>

GHOSTFACE  
>Ah, I can see why Shirley likes you - or<br>maybe it's just that letterman's jacket that  
>she's never been rich enough to afford<br>although she's been on the swim team for 3  
>years. But unfortunately for her, she<br>should've done track because the skill  
>she'll need won't be swimming, it'll be<br>RUNNING!

RICHIE  
>Alright pal, I'm calling the cops.<p>

GHOSTFACE  
>You're already too late...<p>

THUD - from upstairs.

SHIRLEY  
>Okay, let's go, Rich.<p>

Richie hangs up the phone and they both run to the back door.

EXT. BACK SIDE OF THE MACK'S HOUSE - NIGHT  
>Richie and Shirley quickly walk to Richie's car and enter. Richie's phone vibrates again once they're inside.<p>

SHIRLEY  
>Don't answer it.<p>

He listens and tries to turn on the car - it's dead. His phone beeps with a text tone. He looks at it: "that won't help you."

SHIRLEY  
>What does it say?<p>

THE BATTERY SMASHES AGAINST THE FRONT WINDOW. They both duck down and see the battery on the hood of the car.

RICHIE  
>Okay, just relax, we'll try to -<p>

GHOSTFACE BURSTS THROUGH THE PASSENGER SIDE WINDOW, GRABBING SHIRLEY AND PULLS HER OUT. Richie tries to reach for her but it's too late. He thinks quickly and grabs his baseball bat from the backseat and jumps out of the car while dialing 9-1-1 on his cell phone. He looks around - they can't be seen. He looks towards the large crops AND SEES SHIRLEY'S FEET BEING DRAGGED WITHIN.

RICHIE  
>Shirley, I'm coming!<p>

Richie sprints towards the field, phone to his ear. The operator comes on.

EMERGENCY OPERATOR  
>We heard the phone call, we're already on the<br>way!

RICHIE  
>I'm pursuing the suspect on foot into the<br>farm outside of Shirley Mackenzie's house!

EMERGENCY OPERATOR  
>We do not advise any altercations with the<br>suspect. Try to remain calm until the  
>police arrive!<p>

RICHIE  
>Fuck this!<p>

Richie throws his phone back into his pocket, still looking through the crops for a sign of where the killer and Shirley have gone.

RICHIE  
>Shirley!<p>

He continues running, crops whizzing passed the screen. Above, dark clouds cover up the moon - erasing any light that he had to see before. He continues running, crops smacking him in the face and running completely blind. HE TRIPS and falls onto his face.

He slowly gets up, dusting himself off down to his legs - he feels something wet. He takes out his phone for light and looks at his hand - blood. He walks back to where he tripped - a rope like substance is pulled across the crops. He looks closer... it's bloody... the soundtrack STINGS. IT'S AN INTESTINE.

His mouth quivers in fear as he bends down, touching it and pulls it in to bring forward whatever it's tied to. OUT COMES SHIRLEY'S GUTTED BODY. He whimpers, holding her in his arms.

RICHIE  
>(trying to check her pulse)<br>Shirley! Shirley!

His phone rings - this time he answers. The operating system of the monitored calls is ever so ironic at this point. The police can be heard coming in the background.

RICHIE  
>You son of a bitch! I'm gonna fucking<br>kill you!

GHOSTFACE  
>Oh Richie, you have no idea, do you?<br>It's amazing how gullible you are... to  
>not know a fake body when you see it.<br>But it is dark, so I can't blame you.

Richie realizes he's caressing a plastic doll.

RICHIE  
>She's alive?<p>

GHOSTFACE  
>For now... go to the edge of the crops to<br>the woods...

Police can be heard shouting in the background, coming closer through the crops.

GHOSTFACE  
>Quietly... without any attention being<br>drawn to yourself...

Richie looks back for a moment, contimplating whether or not to continue. He drops the doll and runs off deeper into the field. As soon as he leaves, two cops come across the dead doll. One reaches down for a pulse...

COP #1  
>It's a fake.<p>

COP #2  
>Fuckin' kids. The lengths they'll go to<br>for a prank.

COP #1  
>Halloween's coming up. It's that time<br>again... what do we do?

COP #2  
>Bill 'em with a fine... let's get out<br>of here. This is bullshit.

EXT. WOODS - CONT'D  
>Richie exits the crops and comes to a woodsy area, phone still to his ear.<p>

RICHIE  
>Where are you?<p>

GHOSTFACE  
>This time... I will show you!<p>

FLOOD LIGHTS BEAM ON, REVEALING SHIRLEY TAPED TO A TREE - ALIVE. Richie steps for her on impulse.

GHOSTFACE  
>Not so fast or I'll make a bigger mess out<br>of her than I did to life size Barbie!  
>We're gonna play a little game first...<p>

RICHIE  
>Why are you doing this?<p>

GHOSTFACE  
>The why isn't important just yet... the<br>only thing that matters is if you can  
>save your precious - Shirley.<br>(beat)  
>Drop the bat and kick it over by the<br>tree.

Richie follows directions swiftly.

GHOSTFACE  
>Who was the killer in Stab 4?<p>

RICHIE  
>What? What is this?<p>

GHOSTFACE  
>Answer the question!<p>

RICHIE  
>Uh, it was uh... Randy. It was revealed<br>that he-he-he faked his death. I think.

GHOSTFACE  
>Good job, Richie. Shirley lives, for now.<br>Who was the first victim in all of the  
>Stab franchise?<p>

RICHIE  
>(jumping at the answer)<br>Casey! Casey Becker!

GHOSTFACE  
>(chuckles)<br>Wrong answer.

RICHIE  
>Fuck you, it's Casey! That's the only good<br>scene in all of those movies.

GHOSTFACE  
>No Rich, I'm afraid you're incorrect.<br>The first victim was her boyfriend, Steve!  
>Gutted in a chair on the back patio while<br>she watched.

RICHIE  
>Well fuck - I forgot! Nobody remembers that<br>part.

GHOSTFACE  
>I assure you... I didn't!<p>

GHOSTFACE APPEARS BEHIND THE TREE AND STABS SHIRLEY IN THE CHEST.

RICHIE  
>NO!<p>

Richie RUSHES TOWARDS Ghostface at full charge, ready to tackle him. Ghostface kicks up the baseball bat into his hands and SWINGS Richie's legs, CRACKING IT NEARLY IN HALF. Richie falls to the floor, holding his knee in pain. Ghostface grabs him, pulling him underneath Shirley's bleeding out body.

RICHIE  
>You mother fucker!<p>

GHOSTFACE SWINGS AGAIN AGAINST RICHIE'S HEAD, knocking him back down. Ghostface kneels down, Richie tries to attack but his dizzying state keeps him from doing any damage. Richie tries to just crawl away, Ghostface slowly walking behind him.

GHOSTFACE  
>We're not done playing our game, Richie!<p>

RICHIE  
>Fuck you... fuck you!<p>

GHOSTFACE  
>Your move!<p>

GHOSTFACE STABS RICHIE IN THE BACK, MULTIPLE TIMES UNTIL RICHIE BECOMES IMMOBILE. Ghostface gets back up and looks over at Shirley, also dead.

CUT TO:  
>EXT. ROAD - MORNING<br>An older woman drives along the road, the woods surrounding the desolate road. She sips her morning coffee, listening to the AM radio In mid drink, something on the side of the road catches her attention. The glare across her front window becomes a dark red. She pulls over and her jaw is agape in complete utter terror. She gets out of the car, tears falling from her face and the moment she realizes what she sees, she let's out a blood curdling scream!

From her POV, Richie and Shirley's body hang down from the branches with their intestines used as the noose, completely gutted with the rest of their entrails hanging down from every leaveless branch on the Fall trees now painted in their blood with crows pecking at all the various body parts. The echo of the scream scares the birds off.

TITLE SCREEN:  
>SCREAM 5<p>

[This fanfic may be a bit old now but please don't forget to review! Thanks :)]


	2. Survivors Group: Reintroducing Kirby

FADE TO:  
>EXT. WOODSBORO HIGH SCHOOL - DAY<br>KIRBY REED exits her SUV, in a much more mellow pace than she's usually used to. Her hair has grown out and her walk is a bit less strong willed. In her eyes is a pondering sadness but with the strength to carry on except her body can't keep up with the scars she carries.

INT. WOODSBORO LIBRARY - CONT'D  
>About a dozen people sit in a circle in a collective somber, each one carrying their own weight of dispair. Kirby is in the middle of all this, listening to a fellow group member's story. This is CARRIE STOUT, a goth girl who tries to keep her pain deep inside.<p>

CARRIE  
>- he was on top of me. I tried to put<br>up a fight but at that point, I was already  
>so drowsy from the drug that all I could do<br>was just lay there. When I woke up, I was  
>so scared that I didn't tell anyone. But<br>that fear was about to come out when I  
>figured out I was pregnant... but that<br>didn't last long. I guess my body couldn't  
>accept the baby...<p>

MR. LEEDS, a leader of sorts, listens intently to Carrie's story.

MR. LEEDS  
>That's really powerful, Carrie. Thank<br>you for sharing that with us, that takes  
>a lot of strength to come out about such<br>a topic that has been... embroided in your  
>conscience.<p>

CARRIE  
>It's whatever.<p>

MR. LEEDS  
>(beat)<br>Kirby... would you like to share anything  
>today?<p>

KIRBY  
>No thank you, Mr. Leeds, I'm not in the<br>mood to talk about how I was - stabbed by  
>my high school crush while it was all<br>planned by my best friend six months ago.

MR. LEEDS  
>Well I respect that, Kirby... but this is<br>Survivor's Group... and you are a survivor.  
>And we're here to talk about the things we<br>have become thankful for after the events  
>of surviving. To pay respect for those<br>who didn't.

KIRBY  
>Yeah, I'm really grateful for the 3 months<br>of therapy on retracking my digestive  
>system and having to drink my food through<br>a straw. It was awesome.

MR. LEEDS  
>Okay, I can see you're not in the same place<br>as you usually are so... we'll leave it  
>there, ladies and gentleman. Thank you<br>for coming and I hope you enjoy the rest  
>of your day.<p>

The group gets up, Kirby a bit slower than the others. Mr. Leeds approaches her.

MR. LEEDS  
>Can we talk?<p>

KIRBY  
>(exhausted of his presence)<br>About what?

Mr. Leeds look up and waits for everyone to be out the door.

MR. LEEDS  
>How's your grades?<p>

KIRBY  
>(not seeing the point)<br>They're fine.

MR. LEEDS  
>That's good. I'm glad.<p>

KIRBY  
>Okay?<p>

MR. LEEDS  
>I'm just concerned, Kirby, that's all.<br>When you first came here, you were a bit  
>more enthusiastic about improving. Now<br>you're just... frankly, you're slipping.

KIRBY  
>I'm fine but... no offense, Mr. Leeds<br>but I find this whole thing kinda cheesy.

MR. LEEDS  
>Cheesy?<p>

KIRBY  
>Yeah. I mean, it was great to talk to<br>someone about what I went through the first  
>couple of times but now I just feel so...<br>(sighs)  
>I don't know. I don't know, I'm sorry.<p>

MR. LEEDS  
>No, it's okay, I understand. Look, take<br>some time off from coming here before school  
>every morning and... see how you feel in<br>a few weeks. Maybe your opinion will change  
>about being a -<p>

KIRBY  
>"Survivor." I got it. And really, dude,<br>you're great. But I think the more I sit  
>here, the less I'm able to move on. I wanna<br>move on.

MR. LEEDS  
>(smiles)<br>Then I guess that's the best progress we  
>can hope for.<p>

KIRBY  
>(whispers)<br>You succeeded.  
>(walking away)<br>Have a nice day, Mr. Leeds.


	3. New Cinema Club President, Roy Popper

CUT TO:  
>INT. WOODSBORO HIGH HALLWAY - DAY<br>The after school bell rings as kids get out from their afternoon classes. We TILT UP to a sign, "Cinema Club."

INT. CINEMA CLUB MEETING - DAY  
>ROY POPPER, enthusiastic and well spoken, moves around the classroom in front of the students.<p>

ROY  
>Halloween is upon us as we continue our<br>annual 31 Days of Horror -

LOUIS, basically the biggest douche bag in the room, raises his hand.

LOUIS  
>How can it be annual when this is the first<br>time we're having it?

ROY  
>Well I'm assuming it'll become a tradition.<br>Hopefully, after I leave here and graduate  
>this year, maybe you will carry it on.<p>

LOUIS  
>Don't count on it.<p>

Roy's eyebrows curl, unsure of why this kid doesn't like him.

ROY  
>Anyway, any suggestions for next week<br>leading up to the 31st?

MITCHELL DONNER, a freshman, jumps up with his hand raised.

ROY  
>Mitchell.<p>

MITCHELL  
>Stab!<p>

The room becomes an awkward quiet. Roy tries to figure out how to word what he's about to say next very carefully.

MITCHELL  
>Best slasher movies, EVER. Or am I alone<br>on this?

ROY  
>Mitchell, you're new here, uh... we<br>don't... uh...

JOSEPH MORRIS enter the room, Kirby following him in. They both take seats near the front row.

ROY  
>Let's just say we don't watch those movies<br>for personal reasons.

JOSEPH  
>What? The Stab movies?<p>

MITCHELL  
>Yeah, so you like 'em too?<p>

JOSPEH  
>Not particularly.<p>

ROY  
>We'll talk about it after, Mitchell.<p>

KIRBY  
>It's okay, right Joseph? Look, if you<br>guys wanna have another Stab-a-thon, go  
>right ahead. Don't let our past connections<br>stop you.

MITCHELL  
>What does that mean?<p>

The room groans.

JOSEPH  
>My sister Olivia was killed in the<br>Woodsboro Reunion Massacre. Kirby was  
>wounded.<p>

KIRBY  
>Two scars to the abdomen to prove it.<p>

MITCHELL  
>No fuckin' way.<p>

LOUIS  
>Yes fuckin' way. And nobody knows that<br>better than anyone else here in this room  
>than Roy Popper. Ain't that right, Roy?<br>It is because of that, you're the Cinema  
>Club president... right? You nearly<br>jumped in joy once you heard that Robbie  
>and Charlie were -<p>

KIRBY  
>(deadly serious)<br>Don't you fucking say that name when I'm  
>around, you got that Louis?<p>

LOUIS  
>Sorry. Noted.<p>

Roy's eyes shift back and forth and he claps his hands together to ease the tension in the room.

ROY  
>Well, uh, we will get back to this subject<br>some other awkward time. In the meanwhile,  
>tonight on my radio station, we will be<br>talking about horror films, which... oddly  
>now that this situation has been brought up,<br>my specialty. And Kirby will be on tonight,  
>as well, right?<p>

KIRBY  
>Scheduled to make a guest appearance, that's<br>correct. And willing to take all of your -  
>(looks back at Mitchell, smiling)<br>- Stab oriented questions.

Mitchell sinks in his seat.

ROY  
>In other news, tomorrow we will have a<br>special guest coming. I know you'll all be  
>excited! Kinda Stab-related, so you're<br>in for a treat, Mitchell.

NILEY, a petite and beautiful girl, speaks up her small voice from the back of the room.

NILEY  
>It's not Gale Weathers again, is it?<p>

ROY  
>No, Gale's too busy these days but this<br>is someone a little more special. I  
>don't wanna ruin any surprises but...<br>let's just say you'll see!

CUT TO:  
>EXT. WOODSBORO PARKING LOT - DAY<br>The club geeks come out of the school and spill into the parking lot. Kirby and Joseph walk together towards their cars.

JOSEPH  
>Hey, uh... Olivia's birthday is coming up<br>next month. I was wondering if you wanted  
>to do anything for her... balloons, pigeon<br>releases, whatever.

KIRBY  
>Yeah, that sounds great, Joseph.<p>

Kirby gets out her keys as they're about to split up.

JOSEPH  
>She really would like to see you.<p>

Kirby stops.

KIRBY  
>Yeah... I - haven't visited lately, I'm<br>sorry. But her birthday for sure.  
>(beat)<br>I could use an old friend.

Joseph smiles and continues on to his car. Kirby unlocks her car and enters.

INT. KIRBY'S SUV - CONT'D  
>She sets herself in, trying to get comfortable. The sun is directly in her eye and without a beat, she pushes the visor down. A photo falls out and onto the passenger seat, unexpectingly startling her. Slowly, she reaches it over and turns it around to see the photo. The soundtrack stings - it's her, Olivia - and Jill.<p>

Kirby's hand begins to shake and a tear almost forms in her eye. She rests her head back, almost as if this is a routine for collecting herself daily. She opens her eyes, this time with more control, and rips Jill out of the photo, throwing her half onto the street.

EXT. WOODSBORO PARKING LOT - CONT'D.  
>We CRANE ABOVE her SUV as it quickly backs out of the parking space. A few stoner skaters watch her leave.<p>

STONER SKATER  
>Litterer!<p> 


	4. Crime Scene: Dewey & Gale

CUT TO:  
>EXT. ROAD - DAY<br>Kirby brakes, coming onto the traffic lining the entire road - the same road in midst of the woods as from before. She tries to look ahead the long line and notices cars are being turned around. She comes over to the passenger side and sees crime scene tape. An officer turns around, it's SHERRIF DEWEY RILEY.

Kirby pulls over to the side of the road and gets out of the car. Dewey notices the SUV and sighs, knowing what's coming next. Dewey starts to run up, trying to stop Kirby from coming any closer.

KIRBY  
>What's going on, Dewey?<p>

DEWEY  
>Kirby, I - you shouldn't see this.<p>

KIRBY  
>Well what is it?<p>

Dewey looks back at the scene - DEPUTY HICKS is in complete detective mode while observing some evidence.

DEWEY  
>(trying to keep quiet)<br>It's a crime scene.

KIRBY  
>Apparently but -<p>

DEWEY  
>I can't tell you more than that.<p>

KIRBY  
>Dewey... you know me.<p>

DEWEY  
>It's a homocide, Kirby.<p>

The soundtrack stings. Kirby tries to find the words to say.

KIRBY  
>Is it... was it, uh...<p>

DEWEY  
>We think it's unrelated at this point but<br>we can't be too sure.

KIRBY  
>Who is it?<p>

DEWEY  
>You know I can't tell you that.<p>

KIRBY  
>(repeating herself stronger than prior)<br>Dewey... you know me.

DEWEY  
>Shirley Mack and Richie Porter.<p>

This hits Kirby like a brick.

KIRBY  
>Jesus Christ, the-the dream team?<p>

DEWEY  
>The what?<p>

KIRBY  
>High school all stars - jocks.<p>

DEWEY  
>Thanks for the info, Kirby but I gotta get<br>back to work.

KIRBY  
>Okay well... just tell me this, was there<br>any phone calls?

DEWEY  
>A prank phone call the night prior to<br>their discovery but we both know that's  
>common these days.<p>

KIRBY  
>Yeah or it could be another fucking psycho<br>trying to replay another Stab movie.

DEWEY  
>Well do you know them?<p>

KIRBY  
>(sighs)<br>No.

DEWEY  
>Well neither does Sid. So at the moment,<br>we're treating this as an isolated incident.  
>Look, I'll have Deputy Hicks come by later<br>if it makes you feel better.

KIRBY  
>(beat)<br>You better hope that doesn't come back to  
>bite you in the ass, Dewey.<p>

Kirby walks back to her SUV, Dewey standing there trying to stay official with everything while soaking up the facts of the case. He snaps back into character and starts doing a U-turn motion to the cars next to him.

DEWEY  
>C'mon guys, let's keep it going! The<br>road's blocked off.

Dewey's cell phone rings. He sighs and turns back around from the crime scene.

DEWEY  
>Hello?<p>

INT. DRESSING ROOM - POTENTIALLY NIGHT  
>GALE WEATHERS attacks the phone, furious with Dewey on the other line.<p>

GALE  
>Dwight Theodore Riley, give me one good<br>reason you didn't call me about this?

We switch back and forth throughout the conversation.

DEWEY  
>You saw, huh?<p>

GALE  
>No shit, I saw!<p>

DEWEY  
>Look Gale, as far as we're concerned at<br>this point, it's an isolated incident.

GALE  
>Oh bullshit, how many fucking homocides<br>happen in Woodsboro unrelated to Sidney  
>Prescott ever happen?<p>

DEWEY  
>Well Sidney is in Washington so I'm pretty<br>sure this has nothing to do with her!

GALE  
>Dewey... listen to me VERY carefully...<br>YOU'RE AN IDIOT! I'm getting on the first  
>plane out there and we're gonna figure<br>this out. I'm already BEYOND pissed that  
>I wasn't the first person you told about<br>this.

DEWEY  
>Well that's what happens when you go<br>through a divorce, Gale...

GALE  
>(beat)<br>Oh, so now you wanna make this about me?

DEWEY  
>You just couldn't help yourself, could<br>you? "Another tragedy, another book"  
>written by Gale Weathers, that should be<br>your next title. I'm sorry but this can't  
>be transformed into another Hollywood<br>monstrosity so you can stay in New York.

GALE  
>Fuck you, Dewey. You don't understand,<br>you never did. You weren't even supportive  
>of my fiction writing career so when I -<p>

DEWEY  
>I'm hanging up now, Gale. Please don't<br>come to Woodsboro, thank you. Buh bye.

Dewey hangs up and continues on to the crime scene.

GALE  
>Dewey! Dewey?<br>(throws phone)  
>Ugh!<p>

She sits back in her couch and takes a sip of her ice tea. A paige comes in and gives her a "five minutes" hand signal. Gale gives him a thumb up and they run back off. Gale gets up and walks over to her mirror and looks at herself, more than just a quick glance to check her make up. Her hand starts to slide over her shoulder - GHOSTFACE IS ABOVE HER, STABBING HER - she snaps out of recollection of the barn incident. She sighs, fixes her hair and makes her way out of the dressing room.


	5. Time For Someone New to Die

CUT TO:  
>INT. RECEPTIONIST'S ROOM - DAY<br>Carrie sits behind a desk, a headset on her head and she files her nails as she plays in her chair. She's dressed more office friendly in her skirt & heels. She gets an IM on her computer screen. She clicks it - she quickly looks up out the window to a conference room where a meeting is taking place to make sure nobody is coming and goes back down to her monitor. She reads the IM titled from ROGER, presumably her boyfriend: "let's have fun tonight."

She smiles and replies back: "what kinda fun?" She awaits for a response, looking back out the window - still the meeting transpires. He replies: "you know what I want ;)". She giggles, almost a human response for Carrie and replies: "not tonight, unless you wanna earn your red wings." He quickly replies: "EWWWW!"

She laughs and looks back at the window - A SUIT STANDS THERE, startling Carrie.

CARRIE  
>Shit!<p>

SUIT  
>We're all taking a break, you want some<br>lunch?

CARRIE  
>Lunch? It's like 5.<p>

SUIT  
>Well we've been beating this out so we're<br>finally getting around to it.

CARRIE  
>No thanks, you guys have fun.<p>

He begins to walk away and comes back.

SUIT  
>(with a smile)<br>And get off Facebook.

Carrie salutes him while he and the rest of the other suits exit the building. She looks back to the screen and begins to type: "I'm all alone now though - maybe I can help you go solo ;)". He quickly replies: "Oh yeah!" She smiles coyly: "Pull it out!" He replies: "Way ahead of you."

A LOUD CRASH comes from the conference room. Carrie quickly stands up and sees a chair twirling. She bends down and types: "BRB." She pulls off her head seat and exits the receptionist's room and into the conference room - it's empty.

She walks to the door, peeking her head out. Nobody in sight. She closes it - A HAND STOPS THE DOOR FROM SHUTTING. She screams and almost falls back. In comes the SECURITY GUARD, concerned about Carrie.

SECURITY GUARD  
>(continues walking toward)<br>Sorry about that Carrie!

CARRIE  
>It's fine. Hey, were you in here just a<br>second ago?

SECURITY GUARD  
>Yeah but now I gotta take another shit!<p>

CARRIE  
>What? Ew.<p>

He runs across the room, bumping into another chair and runing into the bathroom door.

CARRIE  
>So gross.<p>

Carrie takes off her heels and continues back to her desk. She stretches, trying to loosen up her joints from sitting down all day. She hears a door open - definitely not the Security Guard.

CARRIE  
>Okay, who's there this time?<p>

There's a long pause.

VOICE  
>Hey Carrie, could you help me with this?<p>

Carrie sighs in relief, knowing it's not something potentially to scare her again.

CARRIE  
>Sure, I'm - I'm coming.<p>

Carrie walks back to the door.

VOICE  
>Thank you, I have all this stuff and I<br>just needed an extra hand.

CARRIE  
>That's what I'm here for.<p>

She starts to open the door.

VOICE  
>It's alot though, it'll be -<p>

SHE SEES GHOSTFACE STANDING THERE.

GHOSTFACE  
>- UP TO YOUR CHEST!<p>

HE QUICKLY STABS CARRIE IN HER CHEST. She falls back out the door, knife still in her and she hits the conference table. She pulls out the knife, blood spurting across the papers. She falls into the head chair, Ghostface watching her with his head tilt. He grabs the knife from the table and Carrie falls out of the chair, trying to catch her breath but blood only spews out of her mouth.

The toilet can be heard flushing from the other room. Ghostface thinks quickly and grabs Carrie's legs, dragging her back into her office. He ducks down behind the window and sits her up in her chair. The guard comes back into the conference room, fixing his shirt back into his pants under his belt. He whistles along, oblivious to the blood on the table and looks into the window: Carrie face down onto the keyboard of the computer. He chuckles and exits the room.

Ghostface pops back up and throws Carrie's body back.

CARRIE  
>Please... please...<p>

GHOSTFACE SLICES DOWN HARD INTO HER CHEST AGAIN, this time completely killing her. Her dead eyes look onward as Ghostface grunts, pulling the knife out of her body.


	6. Scream Radio: Kirby After Being Stabbed

CUT TO:  
>INT. RADIO BOOTH - NIGHT<br>Roy sits behind the main DJ set with Kirby sitting across from him, a nervous smile planted across her face. Roy smashes a gondola, a showman of the radio waves if there ever was one. Trying too hard for an audience that's barely ever there.

ROY  
>Welcome back to another live edition of<br>99.5 SCREAM RADIO! I am your host, Mr. Roy  
>Popper, poppin' in to your ear lobes and<br>poppin' your cherries. It's approximately  
>5:30 PM over here on the west coast, the<br>sunny side of Westboro, California! Or  
>shall I say, not for long. Tomorrow's<br>forecast: rainy! What the hell is up with  
>that?<p>

LENNON MCCOY, a teenaged hippie with shades, most likely stoned, sits in a glass cage with his own microphone. He screams at the top of his lungs.

ROY  
>Lennon over there isn't too happy about<br>that, I can see?

LENNON  
>I hate the rain... hate, hate, hate it.<p>

ROY  
>Well Lennon is going to be in a fury for<br>the next couple of days. Giant  
>thunderstorm rolling in from the south.<br>So stay dry and drive safely but let's  
>get on with the movie talk, shall we?<p>

LENNON  
>Let's do it, man.<p>

ROY  
>Lennon, what did you see this past<br>weekend in theaters?

LENNON  
>Crashing Into Love, starring the ever<br>beautiful Julia Roberts.

ROY  
>Oh and how was that?<p>

LENNON LETS OUT A RAGEFUL SCREAM, BANGING ON THE WINDOWS.

ROY  
>Oh and that is why we keep Lennon in a<br>glass cage, ladies and gentleman!

Kirby giggles, watching the madness in the studio.

ROY  
>And that adorable laugh you just heard<br>belongs to sweet Kirby Reed, she's on  
>the show tonight. Say hello to the movie<br>lovin' world, Kirby.

KIRBY  
>Hello to the 12 people who actively listen<br>to this show.

ROY  
>(with prideful glee)<br>Hey, our ratings are way beyond that. We  
>are number ONE in all of high school radio<br>functions in California!

KIRBY  
>That's because you are the only high school<br>radio function in California, Roy.

They all laugh. Lennon let's out a giant "woo!"

ROY  
>Fair enough, fair enough. So Kirby, the<br>world is... dying to know... how long are  
>you going to keep your hair like that?<p>

KIRBY  
>I don't know, I kinda like it this way. I<br>feel like I have that sexy hair flip going  
>on that I couldn't do before.<p>

ROY  
>Oh, you got it down. I know that for sure.<p>

KIRBY  
>Do I?<p>

ROY  
>I am sitting over here in a... sweat just<br>watching it in still motion, Jesus.

LENNON  
>Roy is in looooove.<p>

KIRBY  
>You want me to do a hair flip for ya,<br>Lennon?

LENNON  
>Oh, please.<p>

ROY  
>Don't do it for him, do it for me.<p>

KIRBY  
>I'm gonna do it for Lennon. He has that<br>whole... mysterious and dirty vibe going  
>on that I kinda dig.<p>

ROY  
>He's wearing glasses because he's stoned<br>and hasn't shaved because he can't buy a  
>razor!<p>

KIRBY  
>Here it goes, this is for you, Lennon.<p>

LENNON  
>Oh yeah, I'm ready baby.<p>

The room waits in anticipation. Kirby kneels her head down and thrusts it in the air, her blonde long locks flowing in the wind ever so gracefully. Roy plays "romantic slow motion" music to accompany it. Lennon howls like a wolf in the moonlight in his booth.

ROY  
>Boys and girls, if you could have seen what<br>I just saw! The world's SEXIEST film nerd,  
>Kirby Reed, flaunting her stuff. Kirby, did<br>you see Crashing Into Love this weekend as  
>well?<p>

KIRBY  
>I did, as a matter of fact.<p>

ROY  
>And what did you think of it?<p>

KIRBY  
>I'm gonna have to disagree with my boy<br>Lennon over there, I thought it was quite  
>the charming film.<p>

LENNON  
>No!<p>

KIRBY  
>Sorry buddy! Julia Roberts is my girl!<p>

ROY  
>I have to agree with Kirby on this one.<br>And you can quote me for the TV spots,  
>Crashing Into Love is a romantic comedy<br>done right and Julia Roberts is in her  
>shiny best at the prime of her career!<p>

KIRBY  
>Haha, I don't know if I liked it as much<br>as you than.

ROY  
>So Kirby, Halloween is approaching. What<br>is on your horror movie watching agenda  
>this season?<p>

KIRBY  
>It's a little film that was recently<br>brought to my attention known as Trick 'R  
>Treat. I love it.<p>

ROY  
>Oh that IS a great film.<p>

KIRBY  
>It didn't get the theatrical run that it<br>deserved so I highly suggest everyone out  
>there go check it out. Run to your local<br>Blockbuster, God knows they need the  
>business and PICK IT UP.<p>

ROY  
>Speaking of Blockbuster, didn't you used<br>to work there?

KIRBY  
>(in sweet reverie)<br>Oh yeeees, not too long ago. I remember  
>that place fondly. Many fun times to be<br>had in that storage room for those of you  
>who still work there.<p>

ROY  
>Ohhhh, I don't know if we can get into<br>those details on the air, Kirby!

KIRBY  
>I'm just sayin'!<p>

ROY  
>So why'd you stop working there anyway?<p>

CHARLIE STABS KIRBY IN THE GUT. Kirby shakes the cobwebs out.

ROY  
>Kirby?<p>

KIRBY  
>(haunted by the memory still)<br>Uh...  
>(sighs)<br>Well, where do I begin?

ROY  
>(realizing something's wrong)<br>That's okay, Kirby, you don't have to say  
>anything you don't want to.<p>

KIRBY  
>No, no... this is a very crucial step in<br>survivors group. Talking about, being able  
>to share and... all that good stuff.<br>(beat)  
>Well, as you may know, I was in the hospital<br>for the greater part of senior year, last  
>year. Which has caused me to repeat it<br>again this year. Uhhhh... basically  
>what it comes down to is if I couldn't<br>go to school because of my - - injuries  
>than I couldn't work either. In fact, I<br>still have a few internal problems that I  
>need sorting out before I get active in<br>any occupation activities.  
>(trying to lighten up the mood)<br>Which is why coming on here once a week  
>is such a good gig for me, right Roy?<p>

ROY  
>(smiles)<br>Right.

There's a small silence in the room. Roy thinks quick.

ROY  
>Well let's go ahead and take a phone call<br>from one of our callers. Mona, who do we  
>have?<p>

In a windowed off room looking down into the radio studio is MONA, a very quiet and older girl (mid 30s) but has the perfect seducing voice for radio.

MONA  
>Our first caller is Mitchell from<br>Woodsboro. I think this is even the same  
>Mitchell from your Cinema Club if I'm not<br>mistaken.

MITCHELL (O.S.)  
>Yup, that's me. Hi guys.<p>

ROY  
>Hey Mitchell, how's it hangin'? Thanks<br>for calling tonight.

MITCHELL (O.S.)  
>Well I listen all the time, I'm a big<br>fan.

ROY  
>Well thank you.<p>

MITCHELL (O.S.)  
>I didn't mean you, Roy.<p>

Roy looks up at Kirby. She feels the need to speak now.

KIRBY  
>Surprised you actually called, Mitchell.<p>

MITCHELL (O.S.)  
>Ah, that's who I wanted to talk to.<p>

KIRBY  
>What's up, buddy?<p>

MITCHELL (O.S.)  
>Well I just wanted to know something.<p>

KIRBY  
>Yeah, what's that?<p>

ROY  
>Mitchell, may I remind you to keep everything<br>movie related.

KIRBY  
>He can ask anything he wants, Mr. Popper.<p>

MITCHELL (O.S.)  
>Thank you, Kirby. And this is movie-related.<br>I was just wondering what it was like to be  
>apart of one of the most wide spread bought<br>movies on the black market?

Roy sighs and slams his head on the desk. Kirby uncomfortably tries her best to answer.

KIRBY  
>Well let me ask you this, Mitchell, have<br>you seen it?

MITHCELL (O.S.)  
>Well, who hasn't?<p>

KIRBY  
>Well just a few short hours ago, you were<br>acting like you didn't know that I was apart  
>of the Woodsboro Reunion Massacre. So<br>what's that about?

MITCHELL (O.S.)  
>Well... I just saw it. Just now. A friend<br>told me about it.

KIRBY  
>A friend?<p>

MITCHELL (O.S.)  
>Nobody you know but... it was some pretty<br>gruesome stuff.

KIRBY  
>Well let me remind you, Mitchell, that that<br>is police evidence and it is technically  
>illegal to be viewing it.<p>

MITCHELL (O.S.)  
>Well you never answered my question.<br>(beat)  
>How does it feel?<p>

ROY  
>Alright, that's enough, Mitchell. And for<br>that, you are banned from Cinema Club for  
>a month.<p>

MITCHELL (O.S.)  
>What? That's not fair!<p>

ROY  
>There's boundaries, dude.<p>

Roy cuts Mitchell off the air without any warning. Kirby seems a bit shaken. Roy puts his hand over the mic and reaches over the table to hold onto Kirby's hand.

ROY  
>I'm sorry about that.<p>

KIRBY  
>It's fine. Don't worry about it.<p> 


	7. Gym Chase: This Is Gonna Hurt

CUT TO:  
>EXT. MARIAH'S HOUSE - NIGHT<br>Louis's car pulls in on the side of a house in the suburbs. He listens to some soft rock music, apparently a bit nervous. MARIAH, 17 and a bit heavy but still a very cute chick, comes down the steps of her house. She slowly walks over, looking pretty for some occasion of sorts and Louis jumps out of the car, ready to assist her.

LOUIS  
>Wow, Mariah, you look stunning.<p>

MARIAH  
>Louis, I... I don't think I'm gonna go<br>tonight.

LOUIS  
>Wha-wha why? Is something wrong?<p>

MARIAH  
>No, I just... it's nothing. I'm just not<br>in the date mood.

LOUIS  
>(nervous smiles)<br>Well you're dressed for the occasion.

MARIAH  
>Yeah... I'm gonna go out with some friends.<br>I'm sorry, I'm just not feeling this right  
>now. It's nothing personal. I just don't<br>wanna be on a date. I don't want that  
>pressure. Know what I mean?<p>

LOUIS  
>(trying to be understanding)<br>Sure! Sure! Ofcourse! Besides I... have  
>like, SO MUCH homework, it's not even funny.<br>We can do this some other time!

MARIAH  
>Exactly!<p>

LOUIS  
>Okay, well uh... I'll see you later than?<p>

MARIAH  
>Definitely, see you at school tomorrow.<p>

LOUIS  
>(awkward silence)<br>'K. See ya.

Louis gets back in the car, trying to hide the fact that he's crushed. Mariah runs back in the house, warming herself up along the way.

INT. MARIAH'S LIVING ROOM - CONT'D  
>Mariah walks over to her couch and picks up a phone and puts it to her ear, as if she's already in conversation.<p>

MARIAH  
>Okay, it worked.<p>

On the other end is her friend, TESS. We can't see her... so her looks don't matter.

TESS (O.S.)  
>Oh thank God, he didn't flip out or anything?<p>

MARIAH  
>No, thankfully not. I'm so glad you told<br>me about him though but I just feel so  
>stupid!<p>

TESS (O.S.)  
>Don't beat yourself up about it, Mariah.<br>You know what they say about those kinda  
>guys, they're not exactly easy to spot.<br>It's not until you're way too deep until  
>you realize you're with an abuser.<p>

MARIAH  
>I've been in the Survivors Group for so<br>long, I should've just seen the signs  
>immediately.<p>

TESS (O.S.)  
>Just be thankful you didn't end up like<br>Esline. He totally Chris Brown'd her.

MARIAH  
>Tess! That's not a funny verb!<p>

TESS (O.S.)  
>(chuckling)<br>Sorry. So what you gonna do instead?

MARIAH  
>I guess make some dinner, I don't know.<p>

TESS (O.S.)  
>No Mariah! Remember our diet plan?<br>We're doing this together!

MARIAH  
>Yeah, yeah, yeah, I'll go to the gym<br>than. Meet me there?

TESS (O.S.)  
>I got homework but text me in a bit,<br>maybe I'll be done and I can meet you.

MARIAH  
>Alright, see ya.<p>

Mariah hangs up and walks off frame.

CUT TO:  
>EXT. BORO FITNESS - NIGHT<br>Mariah, now in spandex and a wife beater, slams her car door and begins walking towards the fitness center. She turns around and notices a car that looks a bit like Louis's. She squints and continues walking at the same time, trying not to make herself too noticable. BAM! She walks into a beefy, hunk of a man exiting the gym. She giggles and he gives his apologies as well and he continues on. She enters the gym.

INT. BORO FITNESS - CONT'D  
>She walks passed the information desk. Sitting inside is CLARK, a well toned and very good looking guy, but unfortunately for Mariah, he's very gay.<p>

MARIAH  
>Hey Clark, how are you?<p>

CLARK  
>Hey honeeeey. You're lookin' good.<p>

MARIAH  
>Thanks.<br>(looks around)  
>Geez, it's dead in here.<p>

The entire place is practically empty. A female jogger is now turning off the treadmill and about to hit the locker room.

CLARK  
>Well we usually get the guilty eaters who<br>pour in at about 9 after their dinners.  
>Better than bulemia, at least.<p>

MARIAH  
>(sighs)<br>Bad enough I work out a place called  
>Boro Fitness which is just one letter<br>away from sounding like burro and now  
>I'm gonna be the only hog in here<br>working out.

CLARK  
>Oh girl, you look fabulous, don't trip!<br>Speaking of fab, how do you like my new  
>streaks?<p>

MARIAH  
>(trying to be nice)<br>They fit you, Clark.  
>(beat)<br>Very gay-like. You couldn't be screaming  
>it out to the world more than you are now.<p>

CLARK  
>It's a revolution, baby!<p>

MARIAH  
>(chuckles)<br>Okay, well I'll see ya.

Mariah walks on and makes her way to the treadmill.

CUT TO:  
>INT. BORO LOCKER ROOM - NIGHT<br>Mariah exits the shower and wraps the towel around her. The setting is a tad bit more eerie than usual with the humid fog lingering in the air from her hot shower. She can feel it in her bones, an uneasiness of being there. The metal lockers squeak just from sitting there and it's starting to play tricks with her mind.

She reaches her locker and takes out her clothes, ready to train. THE RADIO BLASTS ON FROM THE OVERHEAD ANNOUNCER. She jumps back, hitting the other side of lockers. She laughs at herself from being startled by something so silly.

INT. BORO FITNESS - CONT'D  
>Mariah, still in towel, makes her way to the main floor. With a smile on her face, she approaches the information desk. Clark isn't there. She looks around, there's nobody to be seen in the entire place.<p>

MARIAH  
>Well this is creepy now.<p>

INT. BORO LOCKER ROOM - NIGHT  
>Mariah enters back in and quickly throws off her towel and throws on her regular clothes. She slams the locker shut and mildly jogs to the door to the main floor. GHOSTFACE POPS OUT OF A CLOSET, BLOCKING HER WAY. Mariah stops dead in her tracks like a deer in headlights. The silver from Ghostface's blade unleashes and he CHARGES AFTER HER.<p>

Mariah wastes no time and quickly runs backwards and towards the showers in the back. She throws her bag around her shoulder and hits him directly in the face. Ghostface falls to the floor, but forward and slices Mariah's ankle in the process. She falls to the floor as well, Ghostface crawling after her.

Mariah thinks quick, using her foot as leverage and SMACKS A LOCKER DOOR into Ghostface's ... face. Mariah clutches her ankle and jumps over him and runs for the front door again. Ghostface gets up, a bit dizzied and charges after her.

MARIAH  
>Clark! HELP ME!<p>

She reaches the door - ANOTHER GHOSTFACE ALREADY AWAITS. She stumbles back and falls on her ass in shock. The two of them fill the gap between them, edging in on her as she tries to crawl backward. She sees an opportunity AND RUNS FOR IT off to the side.

She reaches the showers and ducks down through the curtain, pressing herself against the tile. She covers her mouth to stop her harsh breathing. GHOSTFACE ENTERS the foggy room, knife in hand ready to SLASH. He rips open each shower curtain, Mariah tensing up knowing that soon it'll be her he finds.

Looking up, she notices an air duct. Quickly, she jumps up and unscrews it with her fingernail. The curtains flying open get closer and closer. GHOSTFACE REACHES HER SHOWER - SHE'S GONE. He looks up, the air duct, although closed, it seems a bit oddly tampered with.

A rustling comes from above in the ceiling and Ghostface stands on a knob and STABS UP INTO THE CEILING, NEARLY PIERCING THROUGH MARIAH'S CHEST. She continues crawling through the small space - SLICE! The knife penetrates through duct, almost coming in contact with her.

MARIAH  
>SOMEBODY FUCKING HELP ME!<p>

The knife stabs into the duct one more time on the very side of the duct but this time, it doesn't retract back down. Mariah watches in confusion. THE KNIFE RUNS ALONG THE SIDE OF THE DUCT. Mariah begins to crawl quicker BUT SHE FALLS THROUGH.

Her body SMASHES against the side of a shower wall, CRUSHING HER RIBS and she lands on her ankle, CRACKING IT. She screams out in pain, blood spilling from her mouth. GHOSTFACE RIPS THROUGH THE CURTAIN. Mariah tries to stand up on her one good leg, pleading to Ghostface. Ghostface tilts it's head, watching her almost with pity. He walks away.

Mariah stands there in shock and tilts her head out the side... he's really leaving the shower area. She hobbles out, using the side of the shower as leverage. HER PHONE, she remembers. She reaches down into her pockets and takes it out, quickly dialing the numbers. '9', she pants. '1', a bit of a cry she's finally about to let out. '1', as she's pressing down the last number - A GHOSTFACE FROM THE SHOWER BEHIND HER RIPS THROUGH WITH THE CURTAIN IN HAND AND SUFFOCATES HER WITH IT.

She nearly falls but GHOSTFACE PULLS HER BACK UP TO A STANCE ON HER BROKEN LEG AND STABS HER IN THE BACK THROUGH THE CURTAIN. In a fury of slices, he CONTINUES STABBING HER REPEATEDLY OVER AND OVER IN EVERY BODY PART IMAGINABLE within a matter of 3 seconds. Done with her, he pulls the shower curtain off. Her sliced up body, falls to the floor and lifeless - blood pouring into the drain.


	8. Ghostface vs Kirby

CUT TO:  
>INT. RADIO BOOTH - NIGHT<br>Roy and Kirby sit in mid laugh while on air. DEWEY AND JUDY BURST THROUGH THE DOOR. Kirby rolls back in her chair, trying to make sense of their hysteria.

DEWEY  
>Why aren't you answering your phone?<p>

KIRBY  
>(pointing to the mic)<br>Beeeecause I'm on the air?

DEWEY  
>(to Roy)<br>Go to commercial.

ROY  
>We don't have commercials.<p>

DEWEY  
>Go to a song!<p>

ROY  
>Okay, geez.<br>(into the mic)  
>Sorry about that ladies and gentleman, we<br>are gonna take a little break and we will  
>be right back after this little diddy by<br>Rob Zombie. Great musician, but please,  
>for the love of GOD, don't touch Halloween<br>ever again.

DEWEY  
>Roy!<p>

ROY  
>Okay, okay!<br>(turns the music on and drops his  
>head phones)<br>What's going on?

DEWEY  
>(to Kirby)<br>There's been two more murders.

The soundtrack stings. Kirby doesn't really even seem effected, almost as if she's been expecting it. She slowly takes off her headphones and stands up.

JUDY  
>Kirby, we need to get you to a safe place.<p>

KIRBY  
>It doesn't matter where I go. They're<br>gonna find me.

DEWEY  
>Don't think that way. We'll have at least<br>three of our guys by you at all times.

KIRBY  
>Then I wanna be home. What else do we know?<p>

JUDY  
>(looking around the room)<br>We can't really divulge into it here...

ROY  
>(offended)<br>Oh! Oh, sorry, excuse me for existing!

DEWEY  
>Let's go, Kirby.<p>

They begin to exit the room.

KIRBY  
>Sorry, Roy.<p>

CUT TO:  
>EXT. REED'S RESIDENCE - NIGHT<br>A cop car with two men of the law sit inside. The night is calm and static. Clouds brewing in from above. Kirby stands at her window, looking out.

INT. REED'S LIVING ROOM - CONT'D  
>Judy comes from behind and grabs onto Kirby's arm, softly, pulling her away from the window.<p>

JUDY  
>That's not the best place to be.<p>

Kirby sits down at her dining room table, putting her head in her hands.

JUDY  
>It's best not to think about it. These<br>things just - -

KIRBY  
>Happen? Right. They just happen to Sidney<br>Prescott four times, right? At least she's  
>bad ass now, I'm just -<p>

JUDY  
>You're strong too, Kirby... stronger than<br>most girls.  
>(she sits down next to her)<br>Most girls just give up. Believe me, I  
>should know.<p>

KIRBY  
>What do you mean?<p>

JUDY  
>C'mon...<br>(shyly looking away)  
>You know. The whole town knows.<p>

KIRBY  
>(smiles, her mood brightened)<br>No fucking way. I thought that was just  
>idle, bored housewife gossip but I mean,<br>really? Dewey?

JUDY  
>There's just something about that man.<p>

KIRBY  
>I like Gale and all but... that's over,<br>so... I have to ask... what's stopping ya?

JUDY  
>Fear, I guess.<p>

KIRBY  
>Fear? You face danger in the line of duty<br>daily and your worries deal with rejection?

JUDY  
>(laughs)<br>I meant fear of Gale. If anyone is next to  
>snap, it's her. She could sure capitalize<br>off it.

Judy looks off and begins examining Kirby's Blu-Ray collection.

KIRBY  
>(beat)<br>Do you like movies, Judy?

JUDY  
>Like them? I love them. I happen to be<br>somewhat of an actress.

KIRBY  
>Really? Anything I would've seen outside<br>of Ghost Goblins 4 or Busty Robot's Revenge?

JUDY  
>(blushes)<br>No... but there was thing that I almost got.  
>An audition that I was just... praying I<br>would get. You know what the creepy thing  
>about that is?<p>

KIRBY  
>What?<p>

JUDY  
>I auditioned for a role of a character named<br>Candy. I thought I had it in the bag and I  
>find out two weeks later, they cast some<br>older broad with implants instead of me.  
>Not to brag, but I really, really think I<br>should've got that part. I mean, it was  
>suited for someone much younger. Anyway...<br>that - was Stab - 3.

The soundtrack stings.

JUDY  
>And now she's dead and I keep wondering...<br>what if that was me? Hired by Sidney  
>Prescott's long lost, fucked up brother<br>out for revenge only to be stabbed to  
>death? Funny thing is... that it just<br>might happen anyway. That my destiny always  
>leads me back to this. It's scary...<br>always dodging a bullet... knowing that  
>this next time, I might not be quick<br>enough to move out of the way...

KIRBY  
>(easing the tension)<br>I don't know how that's supposed to help  
>me, Judy.<p>

They both chuckle with each other, like two best girl friends at a slumber party. Kirby's Mom, BEVERLY REED, waltz into the room with three hot cocoa's in hand and places two of them on the table. As expected by being Kirby's mother, she is a MILF.

BEVERLY  
>Two hot cocoas.<p>

Kirby grabs hers in a non chalant attitude, with a "what's the point of cocoa" demeanor. Judy picks up hers politely and sniffs it.

JUDY  
>Thanks Mrs. Reed. It smells lovely.<p>

BEVERLY  
>I hope it tastes even better. And please,<br>call me Beverly. Missus makes me feel old.

KIRBY  
>You are old, mom.<p>

BEVERLY  
>Oh, contrare my dear. All the boys in the<br>neighborhood call me a, uh... what's that  
>word they use?<p>

JUDY  
>MILF? Not a word, it's an acronym.<p>

Judy does a goofy, assuringly professional nod toward Beverly.

KIRBY  
>Oh, please, they do not!<p>

BEVERLY  
>I have heard it myself with my own ears!<p>

KIRBY  
>Well than it's time to take you back to<br>the doctor and get those checked again.

JUDY  
>Be nice to your mother, Kirby.<p>

KIRBY  
>This IS me being nice.<p>

BEVERLY  
>Thank you, Judy.<p>

KIRBY  
>A little too formal for you to act, don't<br>ya think? When your daughter is about to  
>be murdered?<p>

BEVERLY  
>I'm trying to keep the best of the situation.<p>

JUDY  
>And Kirby, that's actually not one hundred<br>percent certain. We're just taking precaution.

KIRBY  
>(sips her cocoa)<br>Oh and the two victims happening to be  
>members of the Survivors Club is just...<br>coincidence?

JUDY  
>The first two weren't...<p>

KIRBY  
>Watch when I end up in the third reel...<br>eyes gouged, teeth knocked out. I wonder  
>where the killer is going to store me for<br>the final girl to stumble upon? Will I  
>be thrown in a closet? Pinned to a door?<br>This might sound weird, but I always wanted  
>to be found falling from a door frame<br>hanging upside down. I just always wondered  
>how they got like that in the first place,<br>it's remarkable.

BEVERLY  
>(nervous laughs)<br>Kirbiline and her movies!

Beverly quickly exits. Judy politely smiles and inches away from Kirby in her chair as Kirby stares out the window.

KIRBY  
>C'mon you son of a bitch, where are you?<p>

INT. COP CAR #1 - CONT'D  
>The two cops, same cops from earlier in the cornfield as a matter of fact, sit in the car, Cop #2 waiting a bit more anxiously. He seems nervous, his legs shaking uncontrollably. Cop #1 looks down.<p>

COP #1  
>What the hell is your problem?<p>

COP #2  
>One, we're probably about to be killed<br>watching this bitch. Two, because we're  
>about to be killed watching this bitch,<br>I feel like I'm about to shit myself and  
>three, on top of feelin' like I'm about<br>to shit myself, I have to take a leak.

COP #1  
>Well... "Cop #3" will arrive shortly.<p>

COP #2  
>Cop #3, why you sayin that? He has a<br>name dammit!

COP #1  
>Not in horror movie conventional rules.<br>You said it, man, we're expendable. You  
>know what happened the last time two cops<br>were hanging around a supposed victim's  
>house? Turned out the victim was the<br>fuckin' killer! Stabbed Hoss and Perkins  
>to death. That little girl, with that<br>little frame? You fucking kidding me?  
>I guess some people are psycho strong.<p>

COP #2  
>Stop sayin' that shit, man, you're<br>freakin' me out.

Car lights beam from around the corner and through their back windshield.

COP #2  
>Oh thank God he is here! Alright, I'ma<br>go in this girl's house and take a piss!

COP #1  
>What?<p>

COP #2  
>Just U-turn and wait on the other side of<br>the street.

COP #1  
>Gosh dammit...<p>

Cop #2 exits the car and quickly runs towards the house while Cop #1 U-turns the car, Cop #3 pulling into their spot. Cop #1 waits on the other side of the street. He gives Cop #3 a little salute in which he gives back.

INT. REED'S LIVING ROOM - CONT'D  
>Judy answers the door to which Cop #2 comes through.<p>

JUDY  
>Officer?<p>

COP #2  
>Just checking the grounds and now we're<br>gonna do a observance of the house's  
>interior?<p>

JUDY  
>Let me guess, you're gonna start with<br>the bathroom?

COP #2  
>If I could skip all the bullshit and<br>get straight to that, that would be  
>wonderful.<p>

JUDY  
>Go for it.<p>

Cop #2 runs to the bathroom and Judy returns to Kirby, still staring out the window from her seat at the dining room table.

EXT. REED'S RESIDENCE - CONT'D  
>Cop #1 sits in the car, looking at a magazine. The passenger side door opens.<p>

COP #1  
>That was a quick piss.<p>

A BLADE PIERCES THROUGH HIS CHEEK. Still alive, he struggles to find his gun. GHOSTFACE RETRACTS THE BLADE AND SLAMS IT INTO THE SIDE OF HIS NECK, KILLING HIM INSTANTLY. His head topples over onto the steering wheel, softly. Ghostface looks on towards the house to see Cop #2 exiting from the front door.

Cop #2 crosses the street, giving Cop #3 a little wave towards his car. Cop #3 nods, and as soon as Cop #2 continues on, he shakes his head, almost embarassed for him. Cop #2 enters the car and sits down.

COP #2  
>Aw dammit, don't you play that shit and<br>try to scare me.

He notices blood pouring onto his own pant legs.

COP #2  
>What the fu -<p>

THE KNIFE PENETRATES THROUGH THE SEAT INTO COP #2'S BACK, OVER AND OVER! GHOSTFACE WRAPS HIS ARM AROUND HIS MOUTH, MAKING SURE A NOISE DOESN'T SQUEAK THROUGH. He looks at both of their dead bodies and.

From Cop #3's perspective, the car drives away and up the street behind him. He goes back to looking on at Kirby's house.

COP #3  
>And they don't even give me a partner for<br>this, you fucking kidding me?

Cop #1's car U-turns from up the street and returns. The search light BEAMS on towards Cop #3's car, blinding him from being able to look back accordingly.

COP #3  
>What the fuck are these guys doing?<p>

A figure comes forward in the light, coming closer to Cop #3's car. He rolls down the window.

COP #3  
>Did you guys forget something?<p>

A BATON IMPALES THROUGH HIS EYE AND OUT THE BACK OF HIS SKULL. His body topples over onto the passenger seat. Ghostface looks on at Kirby's house, standing there motionless in the light being eclipsed by the search light. He returns to the cop car and turns off the light, almost as if the entire street went back to DARK.

He strolls up to the front door, almost as if there is no plan other than to just ring the door bell. A car is coming! Ghostface looks back quickly and heads for the bushes next to the door.

INT. REED'S LIVING ROOM - CONT'D  
>The door bell rings. Judy quickly gets up, hand on her holster (but she doesn't mean business, just a precaution) and opens the door. It's Mr. Leeds. She lets him in.<p>

MR. LEEDS  
>Oh my God, Kirby, I heard about the news!<p>

He runs over to her and gives her a hug.

MR. LEEDS  
>Are you okay?<p>

KIRBY  
>(almost sarcastically)<br>Surviving.

MR. LEEDS  
>Have you told anyone else from group<br>about this yet?

KIRBY  
>No, I, uh, haven't gotten around to<br>that quite just yet.

MR. LEEDS  
>They're gonna be devasted.<br>(looks back at Judy)  
>Two of our girls, it's heartbreaking.<br>(back to Kirby)  
>Who would do such a thing?<br>(sits down)  
>They've already been through enough.<p>

KIRBY  
>Woodsboro's per capita of murderers is<br>astonishing. Seems like we all need to  
>be put under the microscope for one huge<br>fucking psychological analysis.

THE LIGHTS GO OUT.

JUDY  
>Shit!<p>

MR. LEEDS  
>Okay, just calm down.<p>

Kirby gets up but doesn't say a word. She tries to build the strength to be able to take on anything.

JUDY  
>(into her walkie)<br>Do you guys see anything out there? Over.  
>(no response)<br>Rorsch? Briggs or Nash, you guys still  
>out there, over?<br>(no response)  
>Please copy, this is Deputy Hicks and as<br>your commanding officer, I demand you  
>copy, OVER.<br>(puts the walkie down)  
>FUCK!<br>(looks over at Kirby)  
>I'm gonna call Dwight, just stay calm.<p>

THE LIGHTS COME BACK ON. From up the stairs, Beverly comes to the railing.

BEVERLY  
>Sorry about that, busted a circuit over<br>here doing my hair.  
>(she notices Mr. Leeds)<br>Oh, I didn't know we had such... overwhelming  
>company.<p>

KIRBY  
>(sighs)<br>Mom, this is Mr. Leeds. He runs Survivor  
>Group.<p>

BEVERLY  
>Hello there. My name is Beverly.<p>

MR. LEEDS  
>(almost blushing)<br>Hi.

Beverly walks off, trying not to seem too obvious.

JUDY  
>Ugh, why aren't they answering out there?<p>

Judy goes to the window and looks out. From her POV, she can see Cop #3's car.

JUDY  
>I'll be right back.<p>

Judy walks to the door and exits.

KIRBY  
>(sighs)<br>You're not supposed to say that...

MR. LEEDS  
>Say what?<p>

KIRBY  
>It's part of horror movie rules.<p>

MR. LEEDS  
>Kirby... your life isn't a movie. This is<br>real life. Okay?

Ghostface slowly appears out of the hall behind Mr. Leeds. Kirby nearly freezes.

MR. LEEDS  
>What?<p>

KIRBY  
>(snapping out of it)<br>LOOK OUT!

GHOSTFACE CHARGES BEHIND HIM. MR. LEEDS THINKS QUICK AND DUCKS OUT OF THE WAY, GHOSTFACE'S BLADE SLAMMING INTO THE TABLE.

KIRBY  
>JUDY!<p>

Mr. Leeds crawls under the table onto Kirby's side. GHOSTFACE THROWS THE TABLE OUT OF THE WAY AND PURSUES THEM. They run into the kitchen, Kirby grabs a plate and FRISBEES IT directly into Ghostface's neck, EXPLODING ON IMPACT. Ghostface holds his neck, grunting in pain and nearly falls to his knees.

KIRBY  
>YOU MOTHER FUCKER!<p>

She grabs another plate, Mr. Leeds just standing behind almost too shocked to see what he's witnessing. He tries to grab her but she pushes him off without even trying from the adrenaline she's built. Another plate FRISBEES at Ghostface, slamming into his chest, not breaking. And then she throws another, he ducks this one. He holds his chest, coughing up what we could only assume is blood under the mask.

Kirby grabs two pans, twirls them and begins SMASHING Ghostface's head in. Ghostface falls back onto the stove, face first. Kirby SMASHES his head against the grill THREE TIMES until he's immobile. She's not DONE YET! She turns on the stove, FLAMES ERUPTING IN GHOSTFACE'S FACE. His mask is on fire and he jumps up, screaming and runs face first into the wall but continues on back into the dining room.

Kirby watches, with all the hatred in the world, she doesn't feel an ounce of sorrow for the fucker. Ghostface tries to run to the door and comes face first with Judy, gun drawn.

JUDY  
>Freeze, er... stop?<p>

Ghostface, still in flames, continues on for her. Judy thinks quick and grabs a pot off the front porch and SLAMS into Ghostface's burning face, knocking him down to the ground and extinguishing the flame. Kirby runs up, pans still drawn for another round of pan smashing. Judy throws her hands up.

JUDY  
>STOP!<p>

Kirby freezes and looks at Judy and then back. Mr. Leeds is still watching, totally amazed. They look down at Ghostface... not Ghostface anymore. The mask is completely burnt off. Judy leans in closer to take a look through the smoke. The smoke settles...

It's CLARK from the gym. Judy looks up at Kirby, who has a completely shocked look on her face. She looks back at Judy, her facial expression now changing to confused.

KIRBY  
>(eyebrows curling)<br>Who the fuck is that?

There's a long beat between the two. Kirby feels unthreatened now, throwing down the pans and not even sure why she's being stalked in the first place.

MR. LEEDS  
>Wait... I know him.<p>

JUDY  
>Who is it?<p>

MR. LEEDS  
>His name is Clark. He used to be in<br>the Survivor's Group when it first  
>started.<p>

BEVERLY  
>(coming to the railing)<br>I heard a commotion...

KIRBY  
>What the hell does he want with ME?<p>

CLARK JUMPS UP, SCREAMING. Judy PUNCHES HIM in the face, knocking him back down.

JUDY  
>(pulling out her handcuffs)<br>Let's ask him.

CUT TO:  
>EXT. REED'S FRONT YARD - NIGHT<br>A bit of time has passed. An entire squad of cop cars align the house, along with a few ambulances. Clark, still in Ghostface attire, is being hauled into the Sheriff's car in handcuffs.

JUDY  
>We're gonna question him downtown. I<br>recommend you ride along with me so you  
>can watch the interrogation.<p>

KIRBY  
>Sure, I'll go grab my coat.<p>

Judy walks off?

MR. LEEDS  
>I'll see you in the morning for group,<br>right?

KIRBY  
>Most likely I won't have gone to sleep<br>by than so... why not?

MR. LEEDS  
>Well... at least we can tell them now<br>they can rest easy.

KIRBY  
>Oh Mr. Leeds... you still have a thing<br>or two to learn... you can never rest  
>easy in this town.<br>(beat)  
>You think this is finished? Not by a<br>long shot. There's another killer out  
>there. There always is.<p>

Kirby goes back into the house, leaving Mr. Leeds alone on the porch. Beverly approaches him from behind, hot cocoa in hand.

BEVERLY  
>Thank you for saving my daughter's life.<p>

MR. LEEDS  
>I didn't do anything, honestly. It was...<br>all her.

BEVERLY  
>All the same. Cocoa? Or can I... warm<br>up something else for you?

As appeasing as this sounds, Beverly's forward nature puts Mr. Leeds in an awkward stance.

MR. LEEDS  
>(smiles politely)<br>I'll take the cocoa.


	9. Interrogation, Mrs Riley and Transfers

CUT TO:  
>INT. INTERROGATION OFFICE - NIGHT<br>Kirby and Deputy Hicks watch from behind the glass as Clark sits at the table, facing them. Dewey gets up, angrily and enters the interrogation room.

DEWEY  
>He's not saying anything.<p>

HICKS  
>(sighs)<br>We caught him red handed, boss.

DEWEY  
>I know but... we'll keep him in there<br>over night, see if he caves.

KIRBY  
>Jesus Christ, Dewey, this is the worst<br>example of interrogationism I've ever seen.  
>Where's Batman when you need him? Slam his<br>head into the desk, throw him against the  
>glass! Scream-talk like you have marbles<br>in your mouth!

DEWEY  
>What?<p>

KIRBY  
>(manly, deep raspy voice)<br>WHERE'S HARVEY?

Dewey and Hicks flinch back watching her.

KIRBY  
>(continuing)<br>WHERE'S HARVEY DENT?  
>(chuckles to herself)<br>Nobody's seen The Dark Knight? C'mon now.

The door behind them swings open and in comes DETECTIVE KINCAID. The past decade or so is behind his eyes and his hair is starting to gray. Dewey jumps forward.

DEWEY  
>Detective Kincaid! What are you doing here?<p>

KINCAID  
>How long has he been in there?<p>

DEWEY  
>Clark?<p>

KINCAID  
>No, Batman, I could hear him screaming from<br>the hall. I sure as hell hope that wasn't  
>you. Yes, Clark.<p>

DEWEY  
>(eyes shift)<br>We've had him in holding for about an hour.

KIRBY  
>(proudly)<br>And I was the Batman. It was good, huh?

KINCAID  
>Let me have a word with this young man.<p>

Kincaid goes for the door but Dewey grabs his hand, stopping him.

DEWEY  
>I'm sorry, Kincaid but this is my<br>investigation and I think I have right to  
>know why you're here all the way from<br>Los Angeles.

KINCAID  
>I know this kid.<p>

KIRBY  
>You do?<p>

KINCAID  
>I used to participate at a YMCA in LA. He<br>up and left a couple of months ago and  
>nobody knew where he went until, well, now.<p>

DEWEY  
>No wonder we couldn't find much information<br>on him.

KINCAID  
>(looking at Kirby)<br>This the victim?  
>(shaking her hand)<br>Hi, I'm Detective Kincaid.

KIRBY  
>Kirby.<p>

KINCAID  
>Like the game?<p>

KIRBY  
>Well, kinda, ya see - -<p>

KINCAID  
>I didn't mean to ask, I really don't have<br>the time. Dewey, I need to get in there.

DEWEY  
>Well than by all means.<p>

Kincaid opens the door and enters the interrogation room. Dewey, Hicks and Kirby watch him through the glass.

KIRBY  
>(almost blushing)<br>He's kinda dreamy!

Hicks and Dewey turn their head slowly, staring at her.

KIRBY  
>What?<p>

Hicks nudges Kirby playfully.

INT. INTERROGATION ROOM - CONT'D  
>Kincaid takes a seat, Clark a little flabbergasted to see him there.<p>

CLARK  
>Mark?<p>

KINCAID  
>(apparently upset)<br>Clark, what the hell are you doing here?

CLARK  
>How'd you know I was here?<p>

KINCAID  
>It's all over the news, Clark!<p>

CLARK  
>Does my mom know?<p>

KINCAID  
>Of course she knows, she sent me here.<p>

CLARK  
>(sighs)<br>Fuck.

KINCAID  
>What the hell happened?<p>

CLARK  
>I didn't kill anybody!<p>

KINCAID  
>You didn't? Because there are news reports<br>spanning from here to fuckin' England saying  
>otherwise!<p>

CLARK  
>It wasn't me!<p>

KINCAID  
>Oh, so you just parade around in a Ghostface<br>costume around the time where people are  
>being murdered in Woodsboro with pride? You<br>know I was involved in one of those incidents,  
>right?<p>

CLARK  
>No, I didn't know that.<p>

KINCAID  
>Well now you do. So... come clean, Clark.<br>With good behavior, your sentance might be  
>less harsh, who knows but this is just...<br>What's going on? What kinda shit did you  
>get into?<p>

CLARK  
>(tearing up)<br>I really didn't kill nobody. I was just...  
>everytime I had the chance, I just couldn't<br>do it.

KINCAID  
>So who did?<p>

CLARK  
>I can't tell you that, they'll come after<br>me.

KINCAID  
>How many are you working with?<br>(there's silence)  
>HOW MANY?<p>

CLARK  
>There's just one more.<p>

KINCAID  
>Man or woman?<p>

CLARK  
>I can't say.<p>

Kincaid is getting irritable. It's late and he has a long drive back.

KINCAID  
>I'm taking you back to Los Angeles.<p>

CLARK  
>What? No, no, no, my mom is gonna - -<p>

KINCAID  
>She's gonna flip, you're right. And she's<br>gonna smack the living shit out of you and  
>I'm gonna let her. Maybe that'll convince<br>you to give me some more information.

CLARK  
>Mark, I can't face my mom!<p>

KINCAID  
>But you can be an accomplice to murder?<br>That's new to me, Clark. Ya see, when I  
>met you, you were into a bunch of whole<br>other shit. Drugs, prostitution, but  
>murder was never one of them! So what<br>was it that convinced you to do this, huh?  
>Was it money?<p>

CLARK  
>... yes.<p>

KINCAID  
>How much?<p>

CLARK  
>I can't say - -<p>

KINCAID  
>How much were those people's lives?<p>

CLARK  
>(tearing up)<br>I needed the money, Mark. I'm broke as fuck,  
>the gym doesn't pay shit!<p>

KINCAID  
>Than you shouldn't have left your mom by<br>herself in Los Angeles.

CLARK  
>I was in a bind.<p>

KINCAID  
>Why didn't you talk to me about it?<p>

CLARK  
>You wouldn't understa - -<p>

KINCAID  
>WHY DIDN'T YOU TALK TO ME?<p>

CLARK  
>I had no time! I had to leave and there<br>was no going back.

KINCAID  
>So the killer paid you to assist them in<br>the murders?

CLARK  
>Yes.<p>

KINCAID  
>(fuming)<br>We'll talk about this in Los Angeles.

INT. INTERROGATION OFFICE - CONT'D  
>Kincaid exits and comes face to face with Dewey.<p>

KINCAID  
>I'm taking him back to Los Angeles.<p>

DEWEY  
>He is in our custody!<p>

KINCAID  
>He is a minor and his mother wants him<br>hometown. By law, I actually have no say  
>in it whether I like it or not. But if<br>you would rather do the honors, be my  
>guest, but I thought I could do it since<br>I'm headed back that way anyway.

KIRBY  
>Did he give a motive?<p>

KINCAID  
>(about to exit the room)<br>No. I'll call you from Los Angeles.

DEWEY  
>Kincaid! That is my suspect!<p>

KINCAID  
>You have another killer to catch. Focus<br>on that.  
>(staring Dewey down)<br>We're leaving in twenty minutes.

The door opens again - - the room looks over. SIDNEY PRESCOTT, a usually strong presence is a bit weakened for Kirby's concern at the moment. Her and Kincaid lock eyes. Sidney goes a bit weaker and puts more of her focus back on the other three.

DEWEY  
>Sid! I told you to stay up north.<p>

SIDNEY  
>And miss out on all the fun? I don't<br>think so.

HICKS  
>Sidney, with all due respect, we don't think<br>this has anything to do with you.

SIDNEY  
>No? You sure about that? History says<br>otherwise.

Sidney and Kincaid have another awkward glance at each other.

DEWEY  
>Look, Sid - -<p>

SIDNEY  
>Hey Dewey, I have a question. Yeah, more<br>deaths in town, big news, but what's really  
>racking my mind right now is why the hell<br>are you and Gale getting a divorce?

DEWEY  
>What? This isn't the time.<p>

SIDNEY  
>(staring cold)<br>It's the perfect time.

DEWEY  
>How'd you even know about that?<p>

Kirby sits at the table, munching on imaginary popcorn.

SIDNEY  
>Well, she got tired of calling you, to come<br>to no avail after 10 tries, so she called me  
>and asked me to tell you to please, in her<br>words, "answer your fucking phone."

DEWEY  
>(almost like a boy)<br>No! Why should I?

His phone vibrates.

SIDNEY  
>There! Right now! It's your chance!<p>

He looks at his phone. It's his mother.

DEWEY  
>It's my mother!<p>

Dewey takes the phone and walks to the other end of the room, taking the call. Sidney heads for the interrogation room door. Kincaid steps in, stopping her.

KINCAID  
>Hey, you can't go in there.<p>

SIDNEY  
>(with underlying pain)<br>You don't get to tell me what to do anymore.

He feels the moment and gives a smile, letting Sidney through. She enters the room and Kincaid turns back around to Hicks and Kirby.

KIRBY  
>Wow! If reality TV was only this good...<p>

INT. INTERROGATION ROOM - CONT'D  
>Clark looks up, watching Sidney stand at the opposite side of the room. She examines him for a bit, Clark feeling uncomfortable and actually trying to scoot back in his chair. She sighs and goes ahead and sits down in the chair.<p>

SIDNEY  
>Do you know who I am?<p>

CLARK  
>No?<p>

SIDNEY  
>Really? You don't know my name?<p>

CLARK  
>Why should I?<p>

SIDNEY  
>Why'd you kill those people?<p>

CLARK  
>I didn't kill anybody, I already told the<br>other guys that.

SIDNEY  
>No?<p>

CLARK  
>No! I'm a 17 year old gay guy with<br>highlights who's favorite show is Glee!  
>I couldn't kill a fuckin' person if I<br>tried!

SIDNEY  
>Does that make you angry?<p>

CLARK  
>What is this, Dr. Phil hour?<p>

SIDNEY  
>Do you want it to be?<p>

CLARK  
>Look... could you do me a favor? Could<br>you tell Mark not to transfer me back to  
>L.A.?<p>

SIDNEY  
>Sure, just tell me who did kill those<br>people than.

CLARK  
>(sighs)<br>It wasn't me. That's all I can tell you.

SIDNEY  
>I believe you.<p>

CLARK  
>Thank you.<p>

SIDNEY  
>(getting up)<br>But you're still going to L.A..

CUT TO:  
>INT. RILEY HOUSE - NIGHT<br>Dewey comes over to the table with a cup of tea and places it in front of his mother, MRS. RILEY. She's much older now and she's seen so much in her life.

DEWEY  
>Here you go, mom.<p>

MRS. RILEY  
>Son... I'm sorry about your divorce. But<br>this is different. How many times are  
>you going to put yourself in front of the<br>danger like this?

DEWEY  
>(gives a boy like smile)<br>I'm the Sheriff now, mom.

MRS. RILEY  
>But you're still my little boy. I can't<br>afford to lose you. Not after Tatum. Not  
>after your father walked out on me.<p>

DEWEY  
>This is just something I gotta do.<p>

MRS. RILEY  
>Have you ever stopped to think about how<br>much pain this whole ordeal has caused us,  
>Dwight?<p>

DEWEY  
>Ma?<p>

MRS. RILEY  
>When was the last time you even... stopped<br>to think about your sister? You've been  
>so wrapped up in whatever hits you next<br>that in the last 16 years, I haven't seen  
>you shed a single tear.<p>

DEWEY  
>I think of her every day.<p>

MRS. RILEY  
>What's her name?<p>

DEWEY  
>What?<p>

MRS. RILEY  
>Say your sister's name, Dwight.<p>

DEWEY  
>(eyes shift)<br>Tatum.

MRS. RILEY  
>She was your sister. You loved her. And<br>she was murdered. Let that just sink in  
>to your conscience for a moment!<p>

DEWEY  
>I've found peace. We found the killers.<br>(shrugs)  
>I'm not angry about it anymore.<p>

MRS. RILEY  
>You call this peace? The more this happens,<br>the more it tarnishes her name. And you  
>look like you don't even give a damn!<p>

She sips her tea in anger. In walks in Sidney - - she stands at the doorway.

SIDNEY  
>Dewey? Sorry, but Hicks wanted me to tell<br>you they're about to send Clark off now.

DEWEY  
>(stands up)<br>I gotta go, ma. I gotta be there for that.  
>When I get back, Judy and I will start<br>helping you pack.

Mrs. Riley stands up, hugging her boy. She looks on at Sidney, almost with a hateful glare. Dewey takes the cup and walks back into the kitchen. Sidney mistakes Mrs. Riley's look for kindness and approaches her.

MRS. RILEY  
>Stop right there.<p>

SIDNEY  
>What?<p>

MRS. RILEY  
>You - are the reason - this is all<br>happening. It always was, Sidney. I  
>blame you for Tatum... I blame you for<br>everything bad that's happened to Dewey...  
>and I blame you for that now, I have to<br>leave my own home and go to Nevada so I  
>can be safe.<p>

SIDNEY  
>(shakes her head, taking it all in)<br>I'm - - sorry, Mrs. Riley, I - -

MRS. RILEY  
>No offense, darling. But maybe it isn't<br>your fault. Maybe if your - - mother...  
>wasn't such a whore... my life would be<br>different. Don't you see how much you  
>have effected everyone's lives around you,<br>Sidney? You're the REAL killer here. Do  
>us all a favor and just - - DIE.<p>

Dewey enters again, immediately noticing the tears falling down Sidney's face. She runs for the door and Dewey looks back to his mom.

DEWEY  
>What did you say?<p>

CUT TO:  
>EXT. POLICE STATION - NIGHT<br>A HELICOPTOR HOVERS over head, blowing the wind in every direction. Kincaid and Dewey hold Clark by the arm, pulling him out to the Squad Van. The press swarm in like rats, trying to get a word in. The men of the law keep pulling him in and get to the van.

KINCAID  
>Is this really necessary? To throw him back<br>here in the dark?

DEWEY  
>Transfer protocal, Kincaid.<p>

Dewey stands atop the van and grabs Clarks other arm, leading him up the stairs. Kincaid jumps as well, helping him in. Dewey begins to handcuff Clark's arm to the bar.

KINCAID  
>Not so tight.<p>

DEWEY  
>Protocal also.<p>

Kincaid silently fumes and let's Dewey exit the van, giving him a moment with Clark.

CLARK  
>C'mon Mark, don't do this.<p>

KINCAID  
>I'm sorry.<p>

Kincaid exits the van and shuts the doors, locking it. Clark sits alone... in the dark.

Kincaid rounds his way to the passenger seat and hops in. The SQUAD DRVER jumps in, a big burly bald headed man with a full beard and tattoos and starts the engine.

SQUAD DRIVER  
>(demonstrating)<br>You open the flap. Flick the switch for  
>the lights. Check on him as much as you<br>want.

KINCAID  
>Thank you.<p>

The van begins to drive off, heading for the freeway. RAIN BEGINS TO POUR DOWN FROM ABOVE. The reporters scatter like roaches and the helicopter heads back to whatever helipad it came from.

CUT TO:  
>EXT. MRS. RILEY'S HOUSE - NIGHT<br>The rain is pouring down even harder, nearly at a sideways direction. Dewey runs into the house, umbrella barely working for him over his head.

INT. MRS. RILEY'S LIVING ROOM - CONT'D  
>Dewey enters to see a few bags packed by the front door.<p>

DEWEY  
>Ma? You ready to go.<p>

Mrs. Riley comes out from the kitchen.

MRS. RILEY  
>Let's go, Dwight.<p>

EXT. MRS. RILEY'S HOUSE - CONT'D  
>Dewey hands the umbrella to his mother while he grabs her suitcases and run to the car. He stuffs them in the trunk and heads to the driver's seat.<p>

INT. SHERIFF'S CAR - CONT'D  
>Judy sits in the passenger seat, working on a sodoku. Mrs. Riley is obviously not pleased by her presence. Dewey turns on the ignition and immediately turns up the heat on the AC.

DEWEY  
>Jesus Christ, it's pouring!<p>

CUT TO:  
>EXT. LOS ANGELES POLICE STATION - EARLY MORNING<br>The sun is rising over the Hollywood mountain, the day turning into a hue of blue. It's all sun over here even further on the West Coast. The squad van stops at the police station.

Mark's head is against the glass, knocked out from the long night. The Squad Driver gives him a nudge on the shoulder.

SQUAD DRIVER  
>Wake up, we're here.<p>

Kincaid slowly gets up, realizing it's now day. He exits the van, yawning and stretching. He reaches the back and opens the door. The van is shaped in a way that the sunlight can't beam in this early in the morning. Kincaid slowly walks up the steps and enters the back...

With no light to see, he takes out his cell phone. He looks down at Clark's spot on the bench and railing - - he's gone. Kincaid immediately doesn't jump to conclusions... he slowly pans his head around the the van.

SQUAD DRIVER  
>(steps in)<br>He ready to go?

The Squad Driver realizes what he's looking at and he stops like a weight pulling him down. We DOLLY BACK to reveal - blood dripping from the ceiling and oozing down the wall. On the ground lays Clark's dead body in the middle of the floor - - his throat slit and eye sockets removed from his skull.

KINCAID  
>... for the love of God...<p> 


	10. Investigation Begins: Kincaid Takes Over

CUT TO:  
>INT. WOODSBORO LIBRARY - DAY<br>The early morning sun shines through the gloom atmosphere inside of the library. Mr. Leeds stands in the middle of them all, trying to find the words to say to comfort the ten or so left in the group who are silent amongst their thoughts of remorse. Kirby and Sidney stand by the wall and Mr. Leeds looks over at them, still not sure of how to put it in words. Sidney comes forward and takes over.

SIDNEY  
>For anyone who doesn't know who I am...<br>my name is Sidney Prescott. And I know a  
>thing or two... or four about this situation.<br>It's hard... it's gonna stay hard for awhile.  
>But the truth is... you have to remain<br>strong. You may be a target but that doesn't  
>mean you have to be a victim. If you act<br>like a victim already than... they already  
>won. Appreciate your lives... like that<br>saying, ya know? "Live everyday to the  
>fullest?" It's not bullshit. That's as<br>real... and concrete of an idea as anything  
>animate in this room. Because you are<br>living now... and you have to try. Don't  
>give up. Fight back against whatever is<br>holding you down... and just remember, the  
>most important thing to remember... is to<br>act like a survivor. You've been through  
>it once... you can do it again. That's all.<p>

MR. LEEDS  
>Thank you, Sidney. That was really powerful.<br>But I want each and everyone of you to think  
>about what she said and keep it close to your<br>heart. And for your safety, I recommend  
>grouping up with whoever you are familiar<br>with in here. The school will be providing  
>security for anyone who asks. And counseling<br>to anyone who is... still reeling from this.  
>Carrie and Mariah were... model survivors.<br>And Clark, well... he just went the wrong  
>way. I don't want you to be entirely filled<br>with rage when you think of him... feel  
>pity.<p>

Kirby looks up. For some reason, those words strike her hard.

MR. LEEDS  
>From what I hear... it was a money issue.<br>And we know that when he first came in here,  
>he was trying to survive. He just got caught<br>up. And I know it hurts. To have someone  
>who may have seemed like a friend betray you<br>in that way...  
>(sighs)<br>What can I say? Trust is a hard thing to  
>come by. Use it sparingly. Regardless of<br>who it is.

Sidney feels sorry for these girls. She remains motionless but a tear falls from her eye nonetheless. She wipes it away and walks out the room. Kirby follows. Mr. Leeds watch them go, giving a half frown. He turns back to his group and gives a half-smile, trying to comfort them.

CUT TO:  
>INT. POLICE DEPARTMENT INVESTIGATION ROOM - DAY<br>Kincaid stands in front of a room full of law enforcement, trying to contain his composure from what he saw earlier in the day.

KINCAID  
>For those of you who don't know who I am,<br>my name is Mark Kincaid, I am a detective  
>for the Los Angeles County. I have been<br>asked by Sheriff Dewey to assist in the  
>investigation ongoing here in Woodsboro.<br>Shall we begin?  
>(beat)<br>Please open up your notepads. Take notes  
>and listen carefully. At approximately,<br>12 AM last night, our suspect Clark  
>Hammer entered Kirby Reed's home. He<br>denied any attempt to commit murder after  
>we had him in our custody. Because he is<br>a minor and out of his hometown, we were  
>told to transfer back to the Los Angeles<br>Detainment Center. In route, Clark Hammer  
>was murdered. Before we transfered him<br>out, he had admitted that he was merely  
>just an accomplice to another murderer in<br>which he was there only for money. Let's  
>take a look at the victims.<br>(posting up their crime scene photos  
>on clips on the whiteboard)<br>Shirley Mack and Richie Compos, both 17.  
>They both attend Woodsboro High School and<br>were star athletes on the swim team and the  
>baseball team respectively. They were<br>a fairly new couple around campus and had  
>gained the moniker the "dream team." The<br>night prior to their bodies being found,  
>Richie Compos received what police thought<br>was a prank phone call from Shirley Mack's  
>phone at 9:30 PM. Shirley's phone was reported<br>stolen two days earlier. Even more curious...  
>(beat)<br>When we traced the phone call, it came from  
>out of state.<p>

The soundtrack thuds. The officers whisper to one another.

KINCAID  
>Ladies and gentleman, please. We have a<br>lot to get through.  
>(waits)<br>Thank you. That night, Clark was seen  
>leaving his place of occupance at the gym<br>at approximately 9:15 PM, just in time for  
>the supposed time of deaths of both Richie<br>and Shirley. So unless Clark grew wings  
>and flew outside of California in the matter<br>of less than 15 minutes, we can only assume  
>that he was the one who murdered them. But<br>I have had a relationship with Clark prior  
>to this incident and truly do believe he<br>is not capable of this which leads me to  
>my next theory - - there are three killers<br>we are chasing after. One who placed the  
>phone call, the other who helped, which I<br>assume is Clark and the other who murdered  
>them. Whether or not Clark Hammer helped<br>decorate those trees with Shirley and  
>Richie's body parts is up for speculation.<br>(he posts the picture of that)  
>Now why would a killer do this, anyone?<p>

OFFICER PECARD, a younger hot shot in the Woodsboro P.D. raises his hand.

KINCAID  
>You. Your name and theory.<p>

PECARD  
>Pecard. The killer or killers are making<br>a statement. Also which can be accounted  
>for since they are wearing the Ghostface<br>costumes to commit these murders.

KINCAID  
>Is it plausible, Pecard, that they are<br>doing this because of the town's history  
>just to stir things up or do we really<br>have another case of movie related crimes?

PECARD  
>Well we listened to the tapes and Richie<br>WAS asked movie related questions prior  
>to their murder.<p>

KINCAID  
>Good job. But than, two more deaths<br>occured.  
>(posting more photos)<br>Carrie Stout and Mariah Kimbry. Both  
>apart of a Survivors Group on campus.<br>Why these two victims? How are they  
>correlated with the victims who aren't<br>in anyway related to Richie or Shirley?

PECARD  
>There's a link, I'm sure.<p>

KINCAID  
>But what? And why? Also, the next<br>targeted victim was Kirby Reed, also  
>apart of the Survivors Group. Three<br>members of the Survivors Group and  
>two regular kids who attend Woodsboro<br>High.

PECARD  
>Is it possible the killer is targeting<br>groups on campus? They were athletes.

KINCAID  
>It would be plausible if more than half<br>of the victims weren't from the Survivor's  
>Group. They would've spread out. Chess<br>Club. Anime Club. Whatever.  
>(beat)<br>Now let's look at the prior murders that  
>are possibly related to the one we are<br>dealing with now. Four occurances, all  
>spread out. The first, 1996. The target<br>was Sidney Prescott's friends. The motive:  
>because her mother was having an affair<br>with Billy Loomis's father. The second,  
>1998. Windsor college. A copycat of<br>the initial murders. All people with  
>similar names. The target, once again,<br>Sidney Prescott. Motive: Billy Loomis's  
>mother out for revenge. The third time,<br>and this is my personal favorite: Hollywood.  
>Year 2000. Target: once again, Sidney<br>Prescott. The horror film director  
>was in the process of making Stab 3 and<br>murdered off his cast, leaving pictures of  
>Maureen Prescott in effort to lure out<br>his long lost sister, Sidney Prescott.  
>The fourth, six months ago. Here we are<br>back again in Woodsboro. Sidney returns  
>to her home town for a book tour and<br>Jill Roberts, Sidney's cousin, devises an  
>entire array of stunts in order to make it<br>so she would be the lone survivor of the  
>Woodsboro Reunion Massacre. She was killed.<br>Now the common link between all of these  
>murders? Film. Each one of their<br>accomplices were obsessed with the idea  
>of living out a horror movie. Stu Macher.<br>Mickey Oliver. Roman was a horror film  
>director who worked alone. And Charlie<br>Walker. Which leads us where?

PECARD  
>Was Clark obsessed with films?<p>

KINCAID  
>Not by a long shot. The better half of<br>his life that I knew him, he didn't even  
>own a TV nor did he have any idea who<br>Sidney Prescott was. Watch any of the  
>Stab films and you would know that.<p>

PECARD  
>So the suspect who is obsessed with film<br>is still out there.

KINCAID  
>And where can we find people obsessed<br>with film?

PECARD  
>Cinema Club. Woodsboro High.<p>

KINCAID  
>Which is also another group that Kirby<br>Reed belongs to.  
>(sighs)<br>Okay ladies and gentleman... we have  
>an investigation to do. Pecard, come<br>with me to Woodsboro High for questioning.  
>The rest of you, scan the streets and<br>be on the beat. If the killer is going  
>to strike again, it'll be tonight. Let's<br>go.

With intensity Kincaid throws on his jacket. Pecard stumbles up and tries to follow him out as the rest of the pack heads out the door.

PECARD  
>Detective Kincaid! I would just like<br>to say thank you for this opportunity.

KINCAID  
>Don't be thankful, Pecard. In fact, I<br>would say you're very unlucky. Chances  
>are, you'll die working this case.<p>

Pecard stops in his tracks, now realizing the truth of that fact.

PECARD  
>SHIT!<p> 


	11. New Batch of Teens: U Hav Midget Fingers

CUT TO:  
>EXT. CIRCUS CIRCUS - DAY<br>Dewey and Judy exit the Las Vegas casino. The hot desert stings against Dewey's eyes that are trained to the country. Judy is fine with it, however.

JUDY  
>How do you suppose the killer got to<br>Clark?

DEWEY  
>Heavy thunderstorm, darkest time of the<br>night and from what the Squad Driver says  
>Kincaid passed out within minutes in route;<br>it's possible the killer got to Clark  
>before they even left town.<p>

JUDY  
>That would make sense, but how exactly?<p>

DEWEY  
>Squad van stops at a stop light. Car<br>comes from behind it, all they need is  
>15 seconds to break the lock, enter the<br>van, slice his throat and exit without  
>anyone noticing.<p>

JUDY  
>And gouge out his eyes.<p>

DEWEY  
>To make a statement bigger than the one<br>the killer is already trying to make.  
>They'll stop at nothing with trying to<br>get away. Clark saw and knew too much,  
>so they took his eyes in return. In fact,<br>I'm surprised they didn't chop off his  
>ears and pick out his brain as well...<br>(shifts his eyes)  
>Or maybe they didn't have time for that.<p>

They reach the car, Dewey going for the driver seat.

JUDY  
>Sheriff Riley, let me drive. You drove the<br>way here through hours of traffic and rain,  
>had to put up with your chatty mother and<br>haven't got much sleep.

DEWEY  
>You have a point. But punch on it, we need<br>to head back before the storm starts up  
>again.<p>

Dewey passes Judy the keys and they both enter the car. Dewey reclines his seat all the way back.

DEWEY  
>The killers are evolving...<p>

JUDY  
>Sir?<p>

DEWEY  
>They're learning from the previous one's<br>mistakes. They're getting better at what  
>they do.<p>

Dewey places his hat over his eyes.

JUDY  
>I reckon it'd be much harder than last<br>time than, don't you think?

DEWEY  
>Well one thing they have taken for granted,<br>Deputy Hicks...  
>(moves his hat to look up at Judy)<br>... is I'm learning too.

Judy smiles and turns on the car. Dewey's phone vibrates. He sighs in exasperation. He looks at the called ID: it's Gale.

JUDY  
>You should take it, boss.<p>

Dewey sighs and rolls his eyes, going ahead and answering the phone. As a reminder, we're still hearing the operated system before the conversation starts.

INT. AIRPORT - DAY  
>Gale stands in a busy terminal, looking at the flight board. All down the line to all flights near Woodsboro or Los Angeles read "Delayed."<p>

GALE  
>Thank you for answering! It's easier getting<br>a hold of Jesus, believe me I know.

DEWEY  
>Gale, what is it?<p>

GALE  
>Dewey, all the flights to Woodsboro have<br>been cancelled. What's going over there?  
>Has it gotten that bad they had to stop<br>people from piling in without getting  
>murdered?<p>

DEWEY  
>Would that satisfy you, Gale? Knowing a<br>serial killing epidemic is at hand?

GALE  
>Very funny, Dewey but seriously?<p>

DEWEY  
>There's supposed to be a massive thunderstorm<br>kicking in tonight or - -

Judy grabs his attention. She's on her cell phone, checking the weather. She points to it innocently.

DEWEY  
>- - orrrr it's already started, dammit!<p>

GALE  
>Well this is just ridiculous. I'll try<br>to find another flight to as close as I  
>can get and drive the rest of the way.<p>

DEWEY  
>Gale, I told you, DO NOT come down here.<p>

GALE  
>Stop me.<p>

She hangs up. Dewey puts his phone away and leans back into his chair again to get comfortable for a nap.

JUDY  
>Are you telling her to stay away because<br>you really don't want to see her or...  
>because you just want her to stay safe?<p>

DEWEY  
>(pauses to actually think about that)<br>A little bit of both, I guess.

JUDY  
>(smiles)<br>You're a good husband...

DEWEY  
>At least somebody takes notice!<br>(waits)  
>Okay, Judy, seriously, with that thunderstorm<br>it's gonna take hours to get back. Let's  
>get a move on.<br>(puts his hat back over his face))  
>And I'm gonna take a nap.<br>(beat)  
>Excuse me if I pass gas.<p>

Judy stops herself from chuckling and starts the engine.

JUDY  
>Yes, sir.<p>

CUT TO:  
>INT. PRINCIPAL'S OFFICE - DAY<br>The storm is brewing heavy already. Rain drops are like bullets spraying the windows. Pecard seems uneasy in his chair, rocking back and forth while Kincaid sits there silently, collected. They both observe PRINCIPAL BROSNAN look at a paper. We INSERT on the paper, it's a list full of questions. Kincaid is now getting uneasy with the amount of time this taking him and eyes the clock: already noon.

BROSNAN  
>I have a few questions, if I may.<p>

KINCAID  
>Go.<p>

BROSNAN  
>Why are you asking all these questions about<br>money?

KINCAID  
>(sighs)<br>The killer bribed their accomplice with an  
>undisclosed amount of money and also made a<br>life size human doll to replicate it being  
>gutted open. Which would also explain the<br>"do you have a background in prosthetics or  
>make up" question as well.<p>

BROSNAN  
>(handing Kincaid the paper)<br>I'll allow it. I'll make the announcement  
>momentarily. Ehh, which groups did you want<br>to see again?

PECARD  
>(trying to step up)<br>We are asking for the Survivors group,  
>Cinema Club, swim team, varsity baseball<br>team and...  
>(handing Brosnan a note)<br>... this list of other select students.

BROSNAN  
>Why these students?<p>

KINCAID  
>We have our reasons, Principal Brosnan.<br>As a matter of fact, we've already told  
>you too much. And may I reming you that<br>whatever you hear in this office be kept  
>confidential be any means.<p>

BROSNAN  
>(pushing up his glasses; stern)<br>Sure.

Brosnan walks off and out of the office over to the front desk with the announcement system. Pecard sits forward, trying to be level with Kincaid.

PECARD  
>Hey, what you said back there - -<p>

KINCAID  
>About those donuts they have here? No,<br>seriously, they're amazing. You should  
>try them if you haven't already.<p>

PECARD  
>No, no! About the - -<br>(looks outside the office and whispers)  
>- - about the possible death thing? Because<br>I know this guy and he is... way better than  
>me to handle this case! He's buffer,<br>better looking, smarter, he even smells good  
>too.<p>

KINCAID  
>Pecard...<p>

PECARD  
>Yeah?<p>

KINCAID  
>In every law enforcement job, there are<br>risks. Day in and day out. Today, your  
>risk is being stabbed by a homicidal<br>maniac. Deal with it or quit the force.

PECARD  
>Yeahhhhh, about that...<p>

KINCAID  
>Pecard, you're not getting off this case.<p>

CUT TO:  
>INT. WOODSBORO CAFETERIA - DAY<br>Kirby sits at the lunch table with Roy, Joseph, Niley and HAROLD MUROY - - the clown of the group. Niley looks at herself in her pocket mirror, concerned with her long, dark red wavy hair. She's cute but has to maintain it and her personality is pretty dingy so this is an important upkeep for her.

HAROLD  
>Hey Kirby, you want my salsa and chips?<p>

KIRBY  
>(chewing on an egg roll)<br>Sorry pal, I can't have any spicy foods.

NILEY  
>(slowly laughing, almost fake)<br>I'll take it.

He passes it over to Niley who slowly starts to dig in. Seriously, she might be on drugs or something. Joseph reads the school newspaper, getting up to date with the events in the town.

ROY  
>Joseph, how do the ratings look on my<br>radio show?

JOSEPH  
>You have a radio show?<br>(raises an eyebrow, waiting for  
>Roy to at least smile)<br>Just kidding, man. When'd you get so  
>serious?<p>

ROY  
>Oh, uh, let me think, the moment that<br>you POSTPONED TELLING ME SOMETHING I  
>ASKED FOR!<p>

JOSPEH  
>Dude? C'mon, don't get all diva on me.<p>

ROY  
>(collecting himself)<br>Sorry, I don't know what came over me.

KIRBY  
>He's naturally a diva. And an attention<br>whore. Why do you think he has his own  
>radio show?<p>

ROY  
>I share it! There's like two other<br>people in there with me with daily guest  
>spots. Niley was on just the other night.<p>

NILEY  
>(smiles big, food still in her mouth)<br>Yup. I got to wear those cool giant  
>headphones! Amazing, man.<p>

ROY  
>And you're on it weekly. C'mon, seriously,<br>why do people give me so much shit about  
>my radio show all the time?<p>

JOSEPH  
>We don't! We're fuckin' with you, man,<br>here!  
>(passes Roy the paper)<br>We like your reactions, is that hard to  
>believe?<p>

ROY  
>(in all seriousness)<br>... Yes.

Roy looks down at the paper, studying the statistics.

HAROLD  
>(nodding over)<br>What's Sidney doing?

KIRBY  
>(looking)<br>Staring off into the vast distance that was  
>her past, feeling melancholy and sniffing<br>the sweet smell of nostalgia lingering in  
>the open divide... currently located out<br>that window.

JOSEPH  
>Screenwriting class?<p>

KIRBY  
>It fuckin' rocks. I learn to come up with<br>cool sentences like that all the time!

Sidney is at the window, looking on into the storm.

HAROLD  
>Maybe you should ask her to come over<br>and eat with us?

NILEY  
>Awww, could you? That'd be so nice of you,<br>Kirby.  
>(frowns)<br>She looks lonely...

KIRBY  
>You guys seriously want her over here?<p>

HAROLD  
>Not to sound - - suspicious or anything but<br>she is a fuckin' legend!

KIRBY  
>What about me, am I not legendary? Do I<br>not satisfy that coil inside your bones  
>that longs for - -<p>

NILEY  
>(tapping Kirby's hand, solemn)<br>No, honey, please don't. Remember what we  
>talked about? Don't use big words in front<br>of Niley because Niley feels left out.

KIRBY  
>I forget that with Niley, its like sitting<br>at the kiddie table for Thanksgiving.

JOSEPH  
>Well your height would sure agree with that.<p>

NILEY  
>Yeah! At least I don't have midget fingers!<p>

KIRBY  
>(looks at her hands)<br>You're like one inch taller than me and  
>I don't have midget fingers!<p>

JOSEPH  
>Actually, you kinda do. Watch, point at<br>Harold.

Kirby obides. Roy chuckles to himself, Joseph smiling big while sipping on his juice box.

KIRBY  
>(getting up)<br>Fuck you guys!

ROY  
>Ah! What - did - you - do? Why is she<br>leaving? Why'd you make her do that?  
>Now she's gone. Not cool.<p>

JOSEPH  
>Relax, Popper. You got us.<p>

HAROLD  
>Yeah but we don't got the - -<br>(imitating a hair flip and goes into  
>a flirty girly voice)<br>- - hair flip going on.

Roy blushes and Joseph pats him on the back.

JOSEPH  
>Yeah, man, what was THAT all about?<p>

ROY  
>... it's just a show.<p>

HAROLD  
>Yeah? So you didn't pop a boner when<br>you danced with her at the winter formal  
>last year?<p>

ROY  
>HEY! I was - - medicated, okay?<p>

HAROLD  
>Yeah, it was called Kirbilicious and you<br>were ODing like a mother fucka.

Niley does a stoner laugh.

JOSEPH  
>Yeah, it's alright though Roy, because<br>you see, I got my own brand known as  
>Josephlicious - -<br>(scoots in closer)  
>- - that you can sample for free.<p>

ROY  
>Personal bubble breached! Personal<br>bubble breached!

Joseph scoots back down.

NILEY  
>I could do a hair flip too, ya know?<p>

HAROLD  
>Go for it.<p>

Niley starts to sway her head back and forth while the three guys watch, curious if she can actually pull this off. She hands headbanging, her hair flopping around like a mess. Roy gets up, throwing his trash in the bin while the rest of the gang laughs hysterically at Niley's failed attempt. The overcom scratches and Roy stops from wherever he was going. The entire cafeteria gets quiet.

BROSNAN (O.S.)  
>I need to see the Cinema Club, Survivors<br>Group, varsity baseball and swim teams  
>in my office immediately. Thank you.<p>

The four of them look at each other.

NILEY  
>Oh my God, what did we do?<p>

HAROLD  
>Shit, I don't know. Could be anything.<p>

NILEY  
>Noooo, I've never been to the principal's<br>office before. Now I'm scared.

JOSEPH  
>Twelve years of school, not once?<p>

NILEY  
>In elementary, I went to the health<br>office to take my candy every time before  
>lunch but that was it.<p>

HAROLD  
>Your candy?<p>

NILEY  
>Sweetarts! You know those little things<br>you get in those little wrappers around  
>Halloween time, well, yeah, those. Except<br>they didn't taste like 'em too much.  
>(slams the desk)<br>Holy shit, I'm just realizing, Halloween  
>is next week!<p>

JOSEPH  
>We've been talking about it all week.<p>

NILEY  
>What, really?<p>

ROY  
>You forget. She's here but she's not<br>here. Okay, let's go?

They all get up. Over by the window, Kirby sees her friends exiting towards the office. She smiles at Sid and starts to get up.

SIDNEY  
>Oh, hey, hang back. I wanna go with you.<p>

KIRBY  
>Okay.<p>

They both get up and walk away from the window together. We PAN OVER to the window - - in sight, the fountain.


	12. The Usual Suspects: History with Kincaid

CUT TO:  
>INT. PRINCIPAL'S OFFICE - DAY<br>Kincaid takes control of the situation as Pecard simply just takes notes. First up, TESS MARTIN. We heard her on the phone before but now we get to see her. Your average beautiful girl with wavy brunette hair and piercing green eyes.

KINCAID  
>Tess, you were the last person to speak to<br>the victim, is that correct?

TESS  
>Well... I don't know. I would assume that<br>she at least talked to one person between  
>the time she was at her house and to the<br>gym?

KINCAID  
>(blank)<br>I mean on the phone.

TESS  
>Oh, well... actually, the same goes for<br>that too.

KINCAID  
>But you DO acknowledge that you did speak<br>to the victim prior to her death?

TESS  
>Yes.<p>

KINCAID  
>And what did two talk about?<p>

TESS  
>She had a date that night with this guy<br>named Louis. I told her to cancel it.  
>He has some... history for being violent<br>with girls.  
>(notices them writing it down)<br>You don't have to call him up, he's  
>already out there waiting. He's in<br>Cinema Club.  
>(pauses)<br>Ironic. I try to lead her out of trouble  
>and instead I... get her killed.<p>

KINCAID  
>Almost too ironic, Miss Martin.<p>

TESS  
>Hey, what are you trying to say?<p>

KINCAID  
>It's just eerie that you would be talking<br>to the victim on the phone and lead her  
>directly to the place where one of the<br>suspects is working to kill her, is all.

BROSNAN  
>Detective Kincaid, I would appreciate it<br>if you didn't indicate my students in such  
>a slanderous way.<p>

Tears start to fall from Tess's eyes and starts balling.

KINCAID  
>What, what's wrong?<p>

PECARD  
>She's crying.<p>

KINCAID  
>I can see that. Why? Why you crying?<p>

PECARD  
>Presumably because her friend just died...<br>just a wild guess though.

TESS  
>You keep calling her the victim! She has<br>a name you know!

KINCAID  
>I'm sorry... her name is Mariah. I'm<br>a little off today, excuse me, I haven't  
>had my morning coffee.<br>(clears his throat)  
>Just those donuts you guys have. Have<br>you tried the donuts you have in the  
>cafeteria? Of course, you're here every<br>day. To not would be an injustice. Which  
>reminds me - -<br>(to Principal Brosnan)  
>- - could we get more donuts? To calm<br>her down?

Brosnan sighs and exits the office. Kincaid waits for the door to close.

KINCAID  
>Tess, did you kill Mariah Kimbry?<p>

TESS  
>No... of course not.<p>

KINCAID  
>(beat)<br>Okay. I believe you, you can go.

Tess grabs her bag and exits the room, wiping the tears away from her face.

PECARD  
>Seriously, that's it, you're gonna let<br>her go?

KINCAID  
>I watch a lot of movies. I know bad<br>acting when I see it.

SPLICE FORWARD - - Louis is now sitting in the hot seat. Kincaid is now up and walking around, hand in his pockets trying to figure out his approach.

KINCAID  
>You had a date with one of the victims?<p>

LOUIS  
>Yeah but it didn't go through. Which is...<br>you think about it, ya know? Maybe she  
>would still be here if she went with me...<p>

KINCAID  
>Louis, how have you known the victim?<p>

LOUIS  
>For awhile. Maybe since sophomore year.<p>

KINCAID  
>And when did you become romantically<br>involved?

LOUIS  
>Just recently. It would've been our<br>first date.

KINCAID  
>Do you have any - - history with abuse?<p>

LOUIS  
>What do you mean?<p>

KINCAID  
>Abuse. Beating up women.<p>

LOUIS  
>Of course not.<p>

KINCAID  
>Than why would there be people claiming<br>you do?

LOUIS  
>(scoffs)<br>There's this stupid rumor going around that  
>I beat up this girl named Esline. We were<br>on a date, maybe two months ago at the most,  
>school had just started back up from summer.<br>We get back to my house, the entire date  
>was fine. I turn out the lights, we were<br>about to... ya know.

PECARD  
>No, I don't know, why don't you tell us.<p>

KINCAID  
>Pecard, that's not appropriate.<p>

PECARD  
>(back to writing)<br>Sorry.

KINCAID  
>Go on.<p>

LOUIS  
>Things are getting a little heavy. And<br>then next thing I know, one of my little  
>league trophies falls from the shelf<br>and hits her in the eye. She doesn't  
>believe me, she thought I was getting<br>all S&M with her. Of course, she didn't  
>agree to that so she instantly called it<br>abuse. Now, being a girl with a social  
>standing, I would assume she wouldn't<br>tell people this incident happened in the  
>bed so she could keep her reputation.<p>

KINCAID  
>Did you know any of the other 8 victims so<br>far in the case? That's including the officers  
>and the first suspect, Clark Hammer.<p>

SPLICE CUT - - Niley now sits in the chair, twirling her hair.

NILEY  
>No.<p>

Niley laughs, it's a little inappropriate.

KINCAID  
>What's so funny?<p>

NILEY  
>I'm sorry, I just think it's funny that you<br>would really feel the need to question me.  
>I'm like... 5'2 and weight 85 pounds. I<br>couldn't possibly do any of the things that  
>happened to any of those people.<p>

KINCAID  
>Jill Roberts was 5'3 and weighed 90.<p>

NILEY  
>(awkward silence)<br>That extra inch goes a long way.

SPLICE CUT - - Roy sits down, completely responsive and even trying to out talk the officers.

KINCAID  
>You received a phone call from somebody<br>named Mitchell Donner while on the air  
>with Kirby, what was that like?<p>

ROY  
>Mitchell, for lack of a better word, is<br>a freak. He seemed really into Kirby's  
>situation and it came at an untimely<br>moment considering what has happened over  
>the last two days. We banned him from<br>Cinema Club for being out of line.

KINCAID  
>Is his irregular out of the regular<br>personality a regular occurance?

ROY  
>(eyes nearly cross but he handles it)<br>No, well, I don't know. He's strange but...  
>most kids in Cinema Club are.<p>

KINCAID  
>That coming from the president of the whole<br>thing...

ROY  
>... have you ever listened to my show? I<br>am the least normal person in that room.  
>(chuckles but stops)<br>Not to indicate myself or anything.

KINCAID  
>Can I ask you a personal question?<p>

ROY  
>Sure.<p>

KINCAID  
>Do you like Kirby Reed? As in, crush like?<p>

ROY  
>(sits back in chair, bombed by the Q)<br>Do I - - have to answer that?

Pecard nods quickly.

ROY  
>A little. That's not a crime, is it?<p>

KINCAID  
>She has spunk. I'm sure most of the guys<br>we interviewed today have a crush on her  
>of some sort.<p>

ROY  
>Like who?<p>

SPLICE CUT - - Joseph sits in the chair, almost bored with the situation. His laid back demeanor seems strikingly odd for being in the hot seat.

KINCAID  
>Your sister... Olivia... she was involved<br>in the Woodsboro Reunion Massacre?

JOSEPH  
>That's right. She, uh... was one of the<br>first to go, I should say.

KINCAID  
>Were you home when that happened?<p>

JOSEPH  
>No, at the time I was with my dad upstate.<br>I came back the next day to help her cope  
>and go through with the funeral arrangements.<p>

KINCAID  
>I'm sorry to hear that. How long have you<br>been in Cinema Club?

JOSEPH  
>Since it's conception. I actually<br>introduced Kirby and - - Jill to Olivia.

KINCAID  
>How much money does your entire household<br>make in a month?

JOSEPH  
>I wouldn't know, I don't do the taxes or<br>anything.

KINCAID  
>Would you say you're well off?<p>

JOSEPH  
>We live comfortably, I guess.<p>

KINCAID  
>What do you think of these donuts?<p>

SPLICE CUT - - Harold is scarffing down a donut.

HAROLD  
>Fucking amazing!<p>

SPLICE CUT - - Kirby enters the room, Sidney following in behind. Kirby sits down and Sidney leans on the door.

KINCAID  
>Sidney, you don't have to be in here<br>for this.

SIDNEY  
>Well Mark, I'm staying.<p>

KINCAID  
>Kirby, if you don't want her in here...<p>

KIRBY  
>(shrugs)<br>She's cool.

KINCAID  
>Okay... Kirbiline, do you resent the fact<br>that you were a victim because of Sidney  
>Prescott's appearance in town here last<br>spring?

KIRBY  
>No, ofcourse not.<p>

SIDNEY  
>You're seriously going to do this, aren't<br>you?

KINCAID  
>I have an investigation to lead. I have<br>to weigh in all the possibilities.

SIDNEY  
>She was attacked last night!<p>

KINCAID  
>But she came out unscathed.<p>

Pecard winks at Kirby. Kirby's grossed out and her face easily shows it.

SIDNEY  
>You see, Mark, this is your problem.<p>

KINCAID  
>I'm just doing my job, Sidney.<p>

SIDNEY  
>Yeah... that's not the first time I heard that.<p>

Sidney exits the room quickly.

KIRBY  
>Whoa... what's that about, Mark?<p>

KINCAID  
>Please call me Detective Kincaid for all<br>professional purposes.

KIRBY  
>Don't escape the question.<p>

KINCAID  
>This isn't the appropriate time - -<p>

KIRBY  
>I was attacked last night and somehow<br>you're trying to pass me off as Patrick  
>Bateman, it's a little insulting so<br>an eye for an eye, you answer my question  
>now and we'll call it square.<p>

KINCAID  
>... It's not my place to say. You<br>should ask her.

Kirby grabs her bag and exits the room. Pecard leans forward.

PECARD  
>That's everybody... who do you think<br>did it?

KINCAID  
>The real question is... who do I think<br>didn't do it...

CUT TO:  
>INT. WOODSBORO BATHROOM - DAY<br>Sidney wipes her nose in the mirror, an old familiar feeling. Kirby enters and smiles politely.

KIRBY  
>(sighs)<br>Are you really going to make me ask?

SIDNEY  
>We have history.<p>

KIRBY  
>No shit.<p>

SIDNEY  
>After the Hollywood murders, we became<br>close. It was friendly at first and then  
>he started to bring me flowers. Next thing<br>I knew, it was dates. And soon after that,  
>an engagement ring. We were planning for<br>the wedding for about a month until it all  
>fell apart. Mark started to become a bit<br>edgy, a little bit more serious. More  
>like he was when I first met him instead<br>of the guy I knew who was more relaxed.  
>His paranoia started to kick in everytime<br>I left that it came to the point that he  
>didn't even want me auditioning for the<br>community theater productions.  
>(she smiles nervously)<br>Which might've been fine if he didn't get  
>so wrapped up in his work and then... I<br>just couldn't take it anymore. After two  
>years, we called it quits and tried to<br>remain friends but - - you know, that never  
>works.<br>(sighs)  
>I guess the real big thing that set me off<br>though was the way he became so controlling,  
>ya know? I could handle serious, I can<br>handle workaholic but... that too. So yeah,  
>he's been bitter and trying to call me for<br>awhile. Guess you can't avoid someone for  
>forever, right?<p>

KIRBY  
>Oooooh, so that's what happened after Stab 3!<p>

SIDNEY  
>To think, my boring life chronicled into the<br>first three Stab films... at least I was  
>played by Tori Spelling.<p>

KIRBY  
>(smiles)<br>Who should play me?

SIDNEY  
>You can't be duplicated, Kirby. No matter<br>how hard they try. Once Gale gets her new  
>book on the shelves, she'll have to come to<br>you if she wants a decent portrayal.

They smile at each other. THE DOOR OPENS ABRUPTLY. In comes Tess, looking down at her phone. She looks up and notices Sidney.

TESS  
>Oh my God! Sidney Prescott?<p>

SIDNEY  
>(smiles politely)<br>Hi.

TESS  
>Wow... I mean, hey! This is like... so<br>cool. Do you think I could get a picture  
>with you?<p>

SIDNEY  
>Sure.<p>

They come together in a half hug, Tess holds the phone out with a big smile and snaps the picture. Sidney is a bit uncomfortable with the whole ordeal but she does it to not lead into any confrontations.

TESS  
>I'm gonna post this on facebook, pronto!<p>

Tess runs for the door and then quickly turns around, heading for the stall.

TESS  
>Almost forgot I had to pee!<p>

Sidney and Kirby laugh with each other over the incident.


	13. Randy's NEW Video & GHOSTFACE GOES LIVE

CUT TO:  
>INT. CINEMA CLUB - DAY<br>Roy stands in front of the class, a bit more eager than normal. Sidney sits this one as she anticipates the special guest she knows...

ROY  
>As promised yesterday, I have brought you<br>a special guest. Now, a little history...  
>this person is royalty in the horror film<br>community which is why I waited till now  
>to bring them as a guest here for our class<br>which is appropriate for Halloween. The  
>most recognized character in all of the<br>Stab franchise aside from the continuing  
>surviving trio, even though he lasted for<br>two films and a guest appearance in the  
>third, is Randy Meeks. Now Randy Meeks<br>may have died at Windsor College back in  
>1998 but his legacy... lives on through<br>his sister. Ladies and gentleman, I  
>present to you, Martha Meeks.<p>

They all clap and Roy sits down in the audience, eager to watch. MARTHA comes in through the door, two security officers accompanying her. Before such a young soul, Martha has aged and put on some weight since she was last seen. Sidney smiles and claps along with the rest of the students. Martha pinpoints her out of the audience and waves her up. Sidney shyly agrees and the two rejoice in a hug. They share words with each other, whispering in one another ear that we can't hear. These kind words leave them both smiling and Sidney sits back down.

MARTHA  
>Alright, alright, you little turds, that's<br>enough applause. I'm nobody.

They all laugh.

MARTHA  
>And Roy, I know you want this, but you<br>have to come to grips that I am married  
>now so please get my new last name right.<br>(chuckles in a just kidding fashion)  
>As Mr. Roy Popper announced, my name is<br>Martha Meeks, brother of Randy who has  
>been - - immortalized for all of you in<br>the Stab franchise. Now when Randy died,  
>a decade ago &amp; plus, he was very passionate<br>about his friends and family. So much,  
>that he made tapes for all of us<br>individually. You could say that my  
>brother knew he was going to die, sure...<br>but I like to think that he was just  
>staying ahead of the game and he wanted<br>to leave something behind just in case  
>for all occasions, no matter what. He<br>even created a video to be present at  
>my wedding of him just sitting down and<br>clapping randomly... and smiling. Luckily,  
>about 8 years ago I got to use that tape.<br>And then even more awkwardly, I got to  
>use the tape of him staring and cheering<br>into my woohoo while my children came out  
>of me. Unfortunately, he only made one<br>so I've had to use the same tape three  
>times.<p>

The kids laugh again.

MARTHA  
>But as I was going through the tapes,<br>I saw one that really stood out to me.  
>One as I arrived here yesterday that I<br>felt applied to your guys' situation  
>right now considering my unfortunate timing<br>and me finally answering Roy Popper's  
>email requests to come visit has lead<br>me here which now I'm being transported  
>to and fro every corner of this city<br>by these security guards. At least  
>they're cute. Anyway, I have a tape - -<br>(pulls a tape out of her purse)  
>- - so let's take a look.<p>

She turns around to the TV and looks down. She immediately realizes it's a DVD player and not a VHS.

MARTHA  
>Well, that's unfortunate.<p>

ROY  
>(jumping up)<br>Wait!  
>(going to the white board)<br>We have a VHS just in case of emergencies.  
>(pulls it out and plugs it in)<br>There ya go.

Roy sits back down and Martha puts in the tape, standing back a few feet to get a better look. THE FEED FLICKERS... AND BEGINS. RANDY, college years, sitting on his couch in his dorm room as before. Sidney instantly tears up while Martha has grown to appreciate his presence without crying.

RANDY  
>Well if you made it this far, Sid,<br>welcome to sequel hell land! Congratulations,  
>a round of applause to our leading heroine<br>Sidney Prescott!

The class actually claps along.

RANDY  
>BUT SERIOUSLY... this is some serious<br>shit here! We are no longer dealing  
>with the rules of a trilogy, nah uh! Those<br>rules no longer apply! What we are dealing  
>with is a full blown, possibly about to get<br>extremely stupid franchise! But this is  
>real life, so I'll give it the benefit of<br>the doubt. Now this is where it's gonna  
>get hectic, Sid: surviving this long is<br>unheard of. You have now become just  
>as immortal as any of the killers to have<br>ever graced the screen! Heroine-league?  
>Forget about it, you've passed that! Not<br>even Jamie made it passed the sequel! And  
>she is the scream queen!<p>

HAROLD  
>(whispers to Joseph)<br>Apparently he didn't get to see H20.

RANDY  
>It's time for the torch to be passed on<br>to a newer generation while you stick in  
>the backgrounds, remaining just a cameo.<br>This is good news, Sid, from here on out,  
>you're safe. Or maybe not, this shit is<br>unheard of to last this long. Seriously.

Louis eyeballs Kirby for just a moment, completely connected with the video.

RANDY  
>Now if this is part 4, 5, 6, WHATEVER,<br>the same thing will apply from here on out.  
>ALL HELL is about to break loose! Rules?<br>Forget rules, there are no rules! More  
>like observances of what franchises become<br>at this point. Now what does every famous  
>franchise try to do once they've passed<br>their prime? That's right - - recreate  
>whatever made it famous in the first place.<br>The Woodsboro Massacre? Fuck that, now  
>it's The Woodsboro Massacre 2.0! Body<br>counts reach all times highs, deaths  
>get sickly insane because the killers at<br>this point are zombie, retard strong. I'm  
>lookin' at you Jason. Twists? Forget<br>about a twist, it's become predictable at  
>this point. The biggest twist there<br>could possibly be is to not have one. Big  
>shocker. Look for the obvious, it's<br>staring you dead in the face probably  
>right at this very moment!<p>

The entire class shifts around and looks at eachother in comical fashion, suspicious of each other. Sidney stays glued to the screen.

RANDY  
>And if not, forget two killers, what about<br>three? Not good enough, the entire cast  
>are the killers! Didn't see that one coming,<br>did ya? Horrible plot twist! But I'm  
>putting my money on it, it'll happen one day.<br>You'll see.  
>(he leans in and back out)<br>Stupid, insane and impossible plotlines?  
>Why not? Jason Lives, Dream Child, that<br>stupid fuckin' movie where we figure out  
>Michael is apart of a cult and he's the<br>father to his mute niece's baby and  
>it has that one guy from Clueless in it<br>who will probably never have a career.  
>Seriously, get acting lessons if you ever<br>see this tape, dude. New environments  
>to make things fresh? Indeed. I'm<br>surprised they haven't taken Mr. Voorhees  
>to space yet, I mean, c'mon! Jason Goes<br>to Hell? Did you see that piece of shit?  
>And everyone else other than you, Sid?<br>Expendable. The body counts have  
>become as legendary as the stories<br>themselves now. Nobody will make it out  
>alive! And as you can see... if you're<br>seeing this tape... I already didn't.  
>And the same goes for everybody else<br>you know. Sorry Sid... those are the  
>rules to having no rules...<p>

The feed ends. Martha sighs heavily and ejects the tape. The soundtrack is at a constant thudding as everyone in the classroom becomes uneasy.

CUT TO:  
>INT. SCHOOL HALLWAY - DAY<br>Martha exits the class as they're all in a ruckus, reeling after what they just heard. The two security guards give her space as Sidney exits behind her, both smiling at each other.

SIDNEY  
>Martha, it's... so good to see you.<p>

MARTHA  
>Good to see you too, Sidney. Last we<br>talked was...

SIDNEY  
>The wedding arrangements. Yeah, that<br>didn't happen. No big deal though,  
>I'm totally fine!<p>

MARTHA  
>(nervous laughs)<br>Sorry for bringing it up.

Kincaid and Pecard quickly approach Martha from behind.

KINCAID  
>Mrs. Kepner, we have some bad news.<br>(beat)  
>Room service just checked in - - your<br>room was ransacked.

The soundtrack thuds.

SIDNEY  
>(sighs)<br>Oh my God.

MARTHA  
>Well now I gotta leave a bigger tip!<p>

MARTHA'S SECURITY GUARD  
>This is a serious matter, Mrs. Kepner.<br>Considering the events...

MARTHA  
>Yeah, I know, uh... so what do we do, boys?<p>

KINCAID  
>I advise you come down to the station in<br>the meanwhile as we sort this all out.  
>Since it appears you may be a target, we'd<br>like to keep a watchful eye on you.

MARTHA  
>I'd much rather just take the first plane<br>out of here.

PECARD  
>All flights incoming and outgoing are down,<br>Mrs. Kepner. Storm won't pass until tomorrow  
>morning.<p>

MARTHA  
>Well how do we know I just wasn't randomly<br>vandalized, that happens all the time.

KINCAID  
>We don't want to risk it, Martha. Just<br>overnight.

MARTHA  
>Fine, as long as I don't have to be behind<br>bars. Unless one of these guys stay with  
>me.<br>(nudges her guards)  
>I'm totally kidding, I'm completely faithful.<p>

KINCAID  
>(chuckles, leading Martha out)<br>If you'll please.

MARTHA  
>Alright. 'K, bye Sid! Let's keep in<br>touch this time!

SIDNEY  
>We'll do that.<p>

Sidney brushes the bangs out of her face and behind her hair, trying to collect together all the information she's gathered. WHAM! A figure bumps into her and she backs up - - it's Mitchell.

MITCHELL  
>Oh... hey. You're that girl! Sorry,<br>I didn't mean to bump into you. I was  
>just in a rush since I'm already late<br>to the club meeting.

Roy quickly comes out.

ROY  
>Mitchell, what did I tell you yesterday?<p>

MITCHELL  
>But I just wanted ta -<p>

ROY  
>Get the fuck outta here! Get the fuck out,<br>I don't wanna hear it!

MITCHELL  
>(sighs and walks away)<br>Damn, c'mon man. Give me a break, I said  
>sorry.<p>

ROY  
>(to Sidney)<br>You okay?

SIDNEY  
>Yeah, thanks.<p>

ROY  
>Must be crazy, huh? All this... AGAIN.<p>

SIDNEY  
>(smiles politely)<br>You have no idea.

CUT TO:  
>INT. SHERIFF'S OFFICE - DAY<br>Pecard sits in a chair, almost puzzled, while Kincaid is at the white board, writing stuff all the way across.

KINCAID  
>None of this makes sense!<p>

PECARD  
>Maybe it's not supposed to. Maybe that's<br>the point?

KINCAID  
>No, we're just... we're coming at it<br>from the wrong angle, is all. We need  
>to go back to the drawing board. Start<br>from scratch. Maybe something will hit  
>us.<p>

PECARD  
>... Kirby was the third target of the<br>Survivors Club members, right?  
>(beat)<br>Why than? Whoever the killer is, wouldn't  
>they want to save her for last? She did<br>survive one massacre already.

KINCAID  
>That's right, actually. But what would<br>it mean?

PECARD  
>Maybe the killer wanted Clark to get<br>caught. Maybe they knew that he didn't  
>have it in him. Maybe we're just... doing<br>every single thing that he or she wants us  
>to do. He's got us confused, we interviewed<br>all the possible suspects... this guy's just  
>laughing at us.<p>

KINCAID  
>But we put more security on all the Survivors<br>Club members? So why would they want to make  
>it more difficult on theirselves.<p>

PECARD  
>Exactly. They're not. In fact... SHIT!<br>We just made it easier for them.

KINCAID  
>What?<p>

PECARD  
>Most, if not all of our guys, are protecting<br>the Survivors Club and Cinema Club members.  
>This leads all the other clubs... WIDE open<br>to be picked off.

KINCAID  
>(his eyes widen)<br>We just gave them an in.

Kincaid looks at Pecard... and they both rush for the door simultaneously!

CUT TO:  
>INT. SHERRIF'S CAR - NIGHT<br>It's night approaching the city and the storm is as ferocious as ever. Dewey is behind the wheel now as Judy sits in the passenger seat, knocked out. They're stuck in traffic, probably have been for hours. Judy opens her eyes to take a look at where they are.

JUDY  
>San Bernardino?<p>

DEWEY  
>Still...<p>

JUDY  
>How long have we been here?<p>

DEWEY  
>(not even remotely happy)<br>Nearly an hour.

JUDY  
>Just put on the lights and get in the<br>side lane.

DEWEY  
>Oh, hmmm, that would be a lovely idea.<br>But unfortunately, here on whatever mid-century  
>part of the town this freeway was invented,<br>THERE IS NO FUCKING SIDE LANES!

JUDY  
>Dewey... just relax. Let me drive.<p>

DEWEY  
>I can handle it.<p>

Judy lays back in her chair, going back to her rest.

CUT TO:  
>INT. DETECTIVE KINCAID'S CAR - NIGHT<br>Another car also immobile. Except they're sitting in front of Kirby Reed's house... doing absolutely nothing. Between the rain hitting the metal of the car and the windshield wipers squeaking, there's no audible conversation occuring.

PECARD  
>Okay... it's been like... 4 or 5 hours...<br>maybe my theory was incorrect...

KINCAID  
>(slowly turns his head)<br>Noooo?

PECARD  
>Seriously, are you sure your walkie is<br>working? No deaths, nothing?

KINCAID  
>There was a cat that floated away in<br>the storm, does that count?

PECARD  
>(beat)<br>Wanna play a game?

KINCAID  
>No.<p>

PECARD  
>(beat)<br>I'll let you win.

KINCAID  
>No.<p>

PECARD  
>Okay... wanna talk? What happened between<br>you and Sidney? You didn't say in the room  
>becaue we were busy but... now we're not<br>doin' shit...

KINCAID  
>Another failed romance. What can I say?<p>

PECARD  
>Ouch. So you're single?<p>

KINCAID  
>You could say that.<p>

PECARD  
>Hm... maybe the killer doesn't wanna go<br>out in these harsh conditions. Maybe the  
>costume would just fly off or something.<br>Make their shoes squeaky. Would make it  
>kinda hard to be stealthy...<p>

KINCAID  
>Pecard... how old are you?<p>

PECARD  
>Twenty six.<p>

KINCAID  
>And in your twenty six years of life,<br>have you ever known of a psychotic refuse  
>to go out murdering people because of the<br>weather?

PECARD  
>IIII HAVE heard of psychotic people<br>killing BECAUSE of the weather. So it  
>didn't seem like a stretch.<p>

KINCAID  
>(beat)<br>I'm gonna turn on the radio now.

Kincaid turns on the radio. Roy's show is now coming to an end.

ROY (O.S.)  
>This is Roy Popper, signing off and hoping<br>that each and everyone of you stay safe  
>tonight. Be careful in whatever you do,<br>that includes driving. Slippery roads  
>folks. And this weekend... I'll see you<br>at the movies.

CUT TO:  
>INT. RADIO BOOTH - NIGHT<br>Roy takes off his head phones and lays them on the microphone. Lennon exits his cage and Mona comes down to the main floor of the booth.

ROY  
>Goodnight guys, drive safe.<p>

LENNON  
>Another splendid show, man.<p>

ROY  
>Thank you. Take care of your throat,<br>don't go busting any nerve vessles on  
>my show ever again. That's disgusting.<p>

MONA  
>Goodnight, Roy.<p>

Roy smiles and Lennon and Mona both exit. Roy looks around the studio and picks up his stuff. His backpack is there even since he comes directly right after school. His phone rings. He looks at it: unknown caller. Eh, he puts his phone on vibrate and puts it back in his pocket. He heads for the door. His phone vibrates.

ROY  
>Ugh. Well if they call twice, it must be<br>important.  
>(waits for the automatic message...<br>it doesn't come)  
>Hello?<p>

GHOSTFACE  
>HELLO ROY.<p>

Roy stands there for a moment as he's about to exit the room. He rethinks this strategy and remains inside.

ROY  
>Ghostface?<p>

GHOSTFACE  
>Lucky guess.<p>

ROY  
>(sighs)<br>C'mon man, let's talk this out. I don't...  
>I don't wanna die.<p>

GHOSTFACE  
>Fortunately for you, Roy, I have other<br>plans.

ROY  
>Like what?<p>

GHOSTFACE  
>You'll see... I wanna play A GAME first.<p>

ROY  
>I know this game and... it never ends<br>well! So can I take a... "get out of  
>jail free" card?<p>

GHOSTFACE  
>Roy... don't be silly. I'm being nice<br>here. You'll abide by my rules... or  
>you're going to make me VERY ANGRY.<p>

Ghostface has an underwhelming calm, which makes Roy take him even more serious.

ROY  
>So how do I know this is really you?<p>

GHOSTFACE  
>Do you really wanna CHANCE IT in the<br>middle of all these deaths, Roy?

ROY  
>Well... I know Ghostface wouldn't be so<br>stupid to be making phone calls that are  
>monitored by the police department, now<br>would he?

GHOSTFACE  
>(they know the answer, pretty much<br>rhetorical)  
>Did you hear an operating system when<br>you answered your phone?

ROY  
>(thinking back)<br>Well...

GHOSTFACE  
>It took leaps and bounds... but I found<br>A WAY.

ROY  
>Well I don't... I don't know where Sidney<br>Presscott is, heh.

GHOSTFACE  
>WHAT MAKES YOU THINK THIS IS ABOUT SIDNEY<br>PRESCOTT? I've got bigger plans than her.  
>She's old news, she's washed up. As far<br>as I'm conerned, she's - - safe.

ROY  
>So Kirby? You want Kirby?<p>

GHOSTFACE  
>Let's not get ahead of ourselves, Roy.<br>We haven't even BEGUN to play our game,  
>have we?<p>

ROY  
>Nope... but uh... my battery is about to die<br>so I guess we're gonna have to stop.

GHOSTFACE  
>I will tell you this... only once. If you<br>as so much even TRY to hang up with me, I'll  
>start KILLING.<p>

ROY  
>Okay, so seriously, what happens if my phone<br>really DOES die?

GHOSTFACE  
>MAKE SURE THAT DOESN'T HAPPEN. Wanna hear<br>the rules or what?

The soundtrack thuds.

ROY  
>(gulps)<br>Fine... fine, what are they?

GHOSTFACE  
>The game is simple, Roy. I ask a question,<br>if you get it wrong... SOMEONE DIES. You  
>get it right, they live.<p>

ROY  
>Someone?<p>

GHOSTFACE  
>Anyone of my choice. Particulary your...<br>precious Cinema Club.

ROY  
>What happened to the Survivors Group?<p>

GHOSTFACE  
>I'm only interested in the people that<br>HAD IT COMING TO THEM.

ROY  
>C'mon, they... they never did anything to<br>anyone. Fuck, I haven't done anything to  
>anyone, so I honestly don't know why I'm<br>being tested here!

GHOSTFACE  
>Tested? DO I SOUND LIKE JIGSAW TO YOU?<br>This isn't a test... think of it more as...  
>a movie trivia gauntlet. Different members,<br>different scenarios. We'll play all sorts  
>of ways, Roy, I DON'T MIND. I got many<br>tricks up my sleeve. And don't even bother  
>warning them, I'LL KNOW.<p>

ROY  
>You do know I'll know pretty much every<br>question you throw my way right, I am the  
>PRESIDENT of Cinema Club!<p>

GHOSTFACE  
>I'm counting on it... but have the people<br>you been leading learned anything from  
>their ringleader?<p>

ROY  
>What do you mean?<p>

GHOSTFACE  
>Asking you a question is the easy part...<br>asking THEM the question and their answer,  
>well... that's the FUN part. But that's<br>a round or two away, so for now, we'll just  
>start with you and let any deaths that<br>pile up in this round be your fault.

Roy looks over at the house phone in the studio.

GHOSTFACE  
>In effort of you not using that house<br>phone in your studio there, we're gonna  
>be putting it to good use. It wouldn't<br>last you long considering... I want you  
>mobile anyway.<p>

ROY  
>What do you mean?<p>

GHOSTFACE  
>Three way in this call with the house<br>phone, turn on the on-air signal and  
>put the phone to the mic.<p>

ROY  
>I can't do that. There's radio regulations<br>and - -

GHOSTFACE  
>DO IT NOW OR I'LL START SLICING!<p>

ROY  
>Fine... but before I look like a complete<br>idiot, this really is the killer, right?

GHOSTFACE  
>Don't tempt me to prove it...<p>

Roy looks down at his cell phone and abides. The house phone rings and he answers it. He looks around for a moment as to how he'll set up the house phone. He places it on the table and pushes the mic down towards it.

GHOSTFACE  
>ARE WE LIVE?<p>

CUT TO:  
>INT. KINCAID'S CAR - CONT'D<br>Kincaid hears that voice, familiar even to him and he immediately sits up.

ROY (O.S.)  
>Yes.<p>

GHOSTFACE (O.S.)  
>For our new listeners joining in... Roy<br>Popper is about to get the ride of his  
>LIFE!<p>

KINCAID STARTS THE ENGINE AND PUSHES THE PEDDLE TO THE FLOOR, SPEEDING OFF INTO THE STORMY NIGHT.

Want more? Help this reach 30 reviews AND THE STORY WILL CONTINUE! (first time reviewing, review multiple chapters, get other readers, etc.)


	14. The Warm Up Round: The Games Begin

CUT TO:  
>INT. GAS STATION - NIGHT<br>Dewey walks away from the teller, possibly getting gas. He stops before he hits the door and looks out into the rain, onward at the traffic on the highway.

DEWEY  
>Excuse me... do you know if there's anyway<br>I can bypass this traffic to get to Woodsboro?

GAS ATTENDANT  
>There's a canyon up ahead behind this<br>building. Follow the road, it'll lead you  
>to at least 15 miles away from there. After<br>that, it's back to the freeway but... it's  
>better than being stuck out here, that's<br>for sure...

DEWEY  
>Thanks.<p>

As Dewey is exiting, Judy exits from the restroom and they head for the car.

EXT. GAS STATION - CONTINUOUS  
>The roof over the pumps can't contain the sideways rain and wind from blowing through. Dewey and Judy try to run to the car, protecting their faces from the rain. Judy nearly blows over a bit but keeps her ground. Dewey helps her on the way, opens the door and holds it open against the wind for her. He nearly slides around the car and to the other side.<p>

He prys open the gas tank, shoves the gas nozzle in, presses the grade and returns to the car. He falls into the driver seat, dripping wet and both him and Judy laugh together.

JUDY  
>Well that was fun!<p>

DEWEY  
>Yeah, it actually was!<p>

JUDY  
>(laughing so hard she can barely speak)<br>I almost fell on my ass!

Dewey laughs with her and Judy throws her back, Dewey falling forward a bit. Her head comes back down - - they're face to face. Judy chuckles a bit more and Dewey gives that boyish smile. They move in closer, their eyes shifting back and forth between each pupil as the water drips down their faces.

We can nearly hear the ladies squeal in the audience from uneasiness and the "don't do it!"s being thrown at the screen... Judy gulps and closes her eyes as Dewey parts his lips. Their lips touc - BZZZZZZZZ!

Dewey jumps back and looks down at his cell phone in the cup holder, vibrating in circles. Judy leans back and shifts the hair behind her ear, trying to stay calm. Dewey opens up the phone - - 12 missed calls: Kincaid. Dewey answers.

DEWEY  
>Kincaid, what happened?<p>

KINCAID (O.S.)  
>Dewey, where are you?<p>

DEWEY  
>I'm in San Bernardino, the storm is bad<br>out here.

KINCAID (O.S.)  
>Turn on the radio!<p>

DEWEY  
>What?<p>

KINCAID (O.S.)  
>Turn on 99.5 Scream!<p>

Dewey turns on the radio and tunes it...

GHOSTFACE  
>Roy, you better run down those stairs<br>as fast as you can because - - I'm  
>getting ancy.<p>

ROY (O.S.)  
>Just hold on a second, I'm not exactly<br>fit for this kinda stuff!

GHOSTFACE  
>Well let me elaborate on the rules I<br>laid out previously: if you don't follow  
>my directions, one of them dies. If any<br>one tries to help or if you try to get  
>any help from anyone, ONE OF THEM DIES.<br>If you as so much make a peep while I  
>talk to my upcoming victims and interrupt<br>me while I'm speaking, guess what happens,  
>Popper?<p>

ROY (O.S.)  
>One of them dies?<p>

GHOSTFACE  
>DING DING! You could be on Jeaopardy or<br>something - - you're just - that - good.

Dewey looks at Judy. Dewey turns on the ignition and SKIRTS OFF, TAKING the gas pump with him. The Gas Attendant runs out in a fury.

GAS ATTENDANT  
>You son of a bitch!<p>

CUT TO:  
>INT. STAIRWELL - NIGHT<br>Roy makes his way down the dark and frigid stairwell. He's obviously tired - - this isn't something he does every day.

GHOSTFACE  
>Now that I got your blood flowing, how<br>about a warm up round?

ROY  
>Is Mr. Ghostface really gonna go easy on<br>me? I'm starting to doubt you're you again.

GHOSTFACE  
>If I wasn't, would I be able -<br>(voice changes to Kirby)  
>- to change my voice at any -<br>(voice changes to Kincaid)  
>- given moment like I just -<br>(back to original)  
>- did, right now, Roy?<p>

ROY  
>How the hell did you do that?<p>

GHOSTFACE  
>Remember Stab 3?<p>

ROY  
>The voice changer with multiple voices?<p>

GHOSTFACE  
>Except I put my own little spin on it.<br>In fact, I'm thinking about getting it  
>patented next Spring...<p>

ROY  
>Very clever.<p>

GHOSTFACE  
>Don't you patronize me, Roy, I don't<br>have the patience!

A figure's shadow can be seen slowly coming up the stairwell. Roy stops in his tracks; his heart nearly stops.

ROY  
>Is-is-ss that you?<p>

GHOSTFACE  
>Maybe... how about you find out...<p>

Roy slowly steps down each step and perches his head out more to see around the bend. The soundtrack RISES - false alarm. Just Lennon. He stops once seeing Roy.

LENNON  
>What happened to the elevator, man?<p>

ROY  
>It just - stopped working.<p>

LENNON  
>(sighs)<br>I forgot my jacket.

Lennon continues on and passes Roy. He stops and turns around.

LENNON  
>Hey, who you talkin' to?<p>

GHOSTFACE  
>(whispers)<br>Say, "your mother."

ROY  
>... your mom.<p>

LENNON  
>(squints and smirks)<br>You're a class act, Popper. A class act.

They continue on their way, Roy releasing the rest of his breath.

EXT. PARKING LOT - CONTINUOUS  
>Roy prys open the door and looks out into the storm.<p>

ROY  
>Jesus. Hold on...<p>

Roy puts his phone in his jacket pocket and races across the parking lot to his car. Another car pulls into the parking lot - - Roy stops. The headlights flash into his eyes and pull up close to him. The car parks as Roy tries to ignore it and continue walking.

KINCAID  
>(over a megaphone)<br>Popper!

Roy tries to ignore him, he knows the rules...

KINCAID  
>I just wanted to let you know... I know.<p>

Roy stops, he shivers in the rain as it pours down on him.

KINCAID  
>We'll keep you safe.<p>

Roy shakes his head, trying to deny the assistance.

KINCAID  
>Just hold on... we'll find him.<p>

Kincaid drives off and Roy runs to his car, getting in. He puts the phone back to his ear.

GHOSTFACE  
>Good job, Roy, you remembered the rules...<br>I actually kinda like Detective Kincaid.  
>I didn't wanna have to cut him into pieces!<p>

ROY  
>You don't have to do anything...<p>

GHOSTFACE  
>But that's where you're wrong. For what<br>I want, I HAVE to do this. Or else I won't  
>be satisfied...<p>

ROY  
>How do you know what I'm doing anyway, huh?<br>How can you be nowhere and everywhere at  
>the same time?<p>

GHOSTFACE  
>Haven't you figured it out yet? I'm not<br>human...

ROY  
>Than what are you... ?<p>

GHOSTFACE  
>I have evolved into something greater than<br>you'll ever know! Greater than Jason, bigger  
>than Michael! This is just the BEGINNING of<br>my legacy. Dahmer, Manson - they'll be nobody.  
>Next to them - - I'LL be LEGENDARY.<p>

ROY  
>That doesn't... really answer what I was asking.<p>

GHOSTFACE  
>There no longer is a man behind the mask. I<br>AM the epitome of evil. The darkness in the  
>night. The shadow in the day, the fear in<br>your nightmares - I AM GHOSTFACE. Created by  
>people like you - like a Frankenstein of conscious<br>fear turned into an animate BEING that preys  
>on the NIGHT.<br>(waits)  
>HAHAHAHAHA, oh, you believed it for a second<br>didn't you, Roy? Now tell me, how BAD of  
>a plot twist would that have been?<p>

Roy rolls his eyes.

GHOSTFACE  
>Now turn on your car.<p>

Roy abides.

GHOSTFACE  
>Start driving. And don't stop, not even for<br>a light. Keep the speed of 65 miles per  
>hour or the bomb located in your car will<br>EXPLODE.

ROY  
>What the hell?<p>

GHOSTFACE  
>POP QUIZ, HOT SHOT, what movie was that<br>plot taken from?

ROY  
>"Speed?" That's not even a horror movie.<p>

GHOSTFACE  
>Well there's the warm up round I promised ya...<br>now drive.

ROY  
>Where?<p>

GHOSTFACE  
>Home Depot. Take 2nd Street.<p>

ROY  
>What the, why there?<p>

GHOSTFACE  
>It's where Louis works... and he's our first<br>victim! Now I have a small hunch about  
>something, so you just stay on the line while<br>I handle some business...  
>(playfully)<br>B - R - B.

The phone switches over. Campy elevator music plays during the holding session. Roy looks at the phone in complete disbelief, mouth comically complete agape. He puts the car in 'drive' and drives off the lot.


	15. Drag Her Body Into the Street

CUT TO:  
>INT. REED'S DINING ROOM - NIGHT<br>Kirby and Sidney sit at the table, digging into a casserole waiting around for any news. Beverly comes down the stairs and smells the aroma of delicious home cooked food.

BEVERLY  
>Kirby, could you be a dear and take those<br>cupcakes in the oven out for me?

Kirby gets up, annoyed but she sees Beverly is going to stay in the room so she figures it'd be best to keep her distance. Beverly leans over the table and examines Sid's face. Sid just smiles.

BEVERLY  
>(admiring)<br>You look just like your mother.

SIDNEY  
>Did you - - know her?<p>

BEVERLY  
>(beat)<br>No. Never got the chance. But it was nice  
>to have a girl from my hometown around when<br>I was in Hollywood though.

SIDNEY  
>So you were an actress?<p>

BEVERLY  
>God no, those filthy little things.<br>(beat)  
>I'm sorry, I'm half way to drunk, I don't<br>know why I'm bringing this up. It's rude  
>of me.<p>

SIDNEY  
>No, no, it's fine.<p>

Kirby enters the room, now with the cupcakes in a bowl.

KIRBY  
>Here are your store bought, heated up<br>in the oven to pass off as homemade,  
>cupcakes, mother.<p>

BEVERLY  
>Thank you, my dear. Now I'll just be<br>right back. I'm gonna give these to  
>the officers outside, they've been<br>waiting for so long.

Beverly grabs an umbrella and walks out the front door. Headlights beam in through the front window. Sidney gets up aside Kirby and they both move forward to see what it is. A car parks cockeyed, nearly taking half of the street.

SIDNEY  
>What the hell?<p>

IN BURSTS KINCAID AND PECARD.

KINCAID  
>Kirby, which Home Depot does Louis work<br>at?

KIRBY  
>How the 'hello' am I supposed to know? I<br>don't talk to that prick.

KINCAID  
>That prick is about to become the first<br>victim. Do you have a computer? Ofcourse  
>you do, where is it?<p>

KIRBY  
>It's in the kitchen but wait, what do you<br>mean, how do you know that?

KINCAID  
>(crossing to the computer)<br>Dewey hasn't told you?

KIRBY  
>No, he hasn't called. Fill us in here!<p>

KINCAID  
>(typing quickly)<br>Turn on the radio. Ghostface is playing a  
>game on the air with Roy.<p>

The soundtrack thuds and Kirby's eyes widen. Sidney touches her shoulder, comforting. Kirby rejects it and runs to her stereo equipment. Before she reaches it, her phone rings. She looks: restricted.

SIDNEY  
>Who is it?<p>

KIRBY  
>It's restricted.<p>

KINCAID  
>That could be Dewey now. Most police lines<br>are restricted.

Kirby looks at everyone in the room, fear forming in her eyes. She clicks the "answer" tab on her phone and slowly raises it to her ear.

KIRBY  
>(nearly shaking)<br>Hello?

GHOSTFACE  
>Is Kincaid there?<p>

KIRBY  
>(gritting her teeth)<br>Yes.

GHOSTFACE  
>(sighs)<br>So predictable, it's almost disappointing!

KINCAID  
>What is it, what is he saying?<p>

GHOSTFACE  
>Tell him if he even attempts to find the<br>whereabouts of Louis or gives that info  
>to any of his lackeys, I won't HESITATE<br>to make ceviche out of the fucker!

KIRBY  
>You're a son of a bitch. And where ever<br>you're trying to end up, you'll never get  
>to Sidney. This place is PACKED through<br>the roof with police.

GHOSTFACE  
>Lucky for me... I have a man on the inside.<p>

THUNDER AND LIGHTENING CRASH LOUDLY.

KINCAID  
>(reading off the internet)<br>"Ghostface killer, threatening live over  
>the radio now. Click here for the link."<p>

He clicks and the feed instantly begins. He turns down the volume so there's no feedback while him and Sidney listen in. Pecard just stands in the corner.

GHOSTFACE  
>Are you listening Kincaid? Good... how<br>much do you know about your partner Pecard?  
>(waits)<br>And Ghostface reveal of killer number 1!

Pecard shifts his eyes and the entire room's eyes fall on him.

PECARD  
>I don't know what he's talking about.<p>

GHOSTFACE  
>Give it up, Pecard, we have them! Now<br>stick with the plan and blow their fucking  
>brains out!<p>

Kincaid puts his hand on his gun as Pecard raises his to prove his innocene.

KINCAID  
>Is that the plan?<p>

PECARD  
>No, I - - what? I have no fucking clue<br>what he's talking about!

GHOSTFACE  
>What's he doing now? Squirming in the<br>corner somewhere, trying to plead his  
>innocence? I assure you, Kincaid, with<br>your trust issues, can you really RISK  
>having him on your team? Afterall,<br>you can only truly trust yourself!

PECARD  
>He's lying, he's fuckin' lying! I swear<br>to God!

GHOSTFACE  
>(chuckles)<br>Relax, Pecard. I'm just twisting your tit.

There's almost a collective sigh in the room and Pecard nearly falls to his knees in exhaustion from his heart beating so far.

KIRBY  
>Like I said, "son of a bitch."<p>

GHOSTFACE  
>And I don't want to find Sidney.<p>

KIRBY  
>Then who? You want me? Fine, skip to<br>the ending and fucking get on with it  
>already!<p>

GHOSTFACE  
>Kirby... you're just a minor footnote to<br>a bigger plan. A speedbump towards the  
>grand finale. Just another violin in<br>the orchastra. You don't stand out to me  
>at all, but I will get to you eventually.<br>But first, I have some business to take  
>care of with Mr. Popper and Louis, so if<br>you EXCUSE ME...

HE HANGS UP. Kirby shakes, the intensity releasing weakens her. Her breathing gets heavy and tears start to form in her eyes. She paces back and forth and the soundtrack rises - - she's about to hyperventilate.

KINCAID  
>Get her some water or something.<p>

KIRBY  
>(trying to keep composure)<br>I don't need anything! Just... give me a  
>second!<p>

Kirby storms out of the room. Kincaid gets back to the computer while Sidney eyes Pecard still in the corner of the room then back to Kincaid.

SIDNEY  
>You have't tracked his location yet?<p>

KINCAID  
>We already looked in to it. The number,<br>the tracing, it's completely jammed. If  
>we can't find one, we can't find the other.<p>

Sidney looks back up at Pecard.

PECARD  
>Hey, I'm 100% innocent.<p>

CUT TO:  
>INT. KIRBY'S ROOM - NIGHT<br>Kirby paces back and forth in her room, trying to smooth out her breathing but it's not working at all. She dials numbers on her phone and waits, finding it hard to swallow her own saliva.

MR. LEEDS (O.S.)  
>Kirby?<p>

KIRBY  
>(between her breaths)<br>I - need you.

MR. LEEDS (O.S.)  
>What's wrong? Has something happeend?<p>

KIRBY  
>(sniffling)<br>I just need you right now, I can't -  
>I can't - fuckin' be strong any longer,<br>I just can't!

Kirby sits at her bed... and now she's lost it. Tears pour down her face and she begins to pout; the soundtrack haunting with Sidney's Theme.

MR. LEEDS (O.S.)  
>Okay... I'll be right there.<p>

Kirby puts the phone down and lets the cries come out from the pit of her stomach, throwing her head into her hands, shaking down to her very core.

Sid stands outside her door, tears falling down her face with her hand to her mouth, trying to hold in the sadness for what Kirby is going through.

CUT TO:  
>INT. ROY'S CAR - NIGHT<br>Roy has his hand on the phone, still waiting for Ghostface to return. He continues driving on and he turns - on Second Street. Ghostface clicks over.

GHOSTFACE  
>Sorry about the numerous pauses but at least<br>you got to listen in on your hot to boot  
>Kirby give me a little sass. She's got<br>quite the mouth on her. Tell me Roy, has  
>she used it on you yet?<p>

ROY  
>She's not a whore, if that's what you're<br>implying. Is that why you're doing this,  
>because you can't get laid by Kirby Reed?<br>Blue balls got the best of ya?

GHOSTFACE  
>Roy, let me make my point more clear - -<p>

A BODY LANDS ON THE HOOD OF ROY'S CAR, CRACKING HALF OF THE FRONT WINDSHEILD. HE SLAMS ON THE BRAKES and the car NEARLY SPINS, but the body HANGS ON.

ROY  
>FUCK!<p>

Roy jumps out of the car and checks the body in front of him. He turns it over carefully - - it's Mona. She's been stabbed multiple times in the chest and has a rope around her neck. Roy looks back up the road and notices the other end of the rope, tied to a street lamp while the end towards the ground swings in the air.

GHOSTFACE  
>Now let me remind you, if you keep<br>taking this as a joke, like I knew you  
>would, then more people will have to DIE.<br>(quietly laughs evilly)  
>Like my present?<p>

ROY  
>Oh my God! Mona, she... she had a husband,<br>uh, uh, kids!

GHOSTFACE  
>I'll be sure to write it in her obituary.<br>Take her off the hood of your car, NOW.  
>We have somewhere to be.<p>

ROY  
>What the fuck?<p>

GHOSTFACE  
>Remember the last time you questioned me?<p>

Roy touches Mona's bloody body and begins to pull it off the hood of his car. He places her softly on the ground and looks at her, woefully.

GHOSTFACE  
>Now drag her into the middle of the road.<p>

ROY  
>You gotta be kidding me.<p>

GHOSTFACE  
>I think we just saw, Roy... I never kid.<p>

Roy grits his teeth and pulls Mona body and places it in the middle of the empty street. Roy runs back to the car to escape the rain.

GHOSTFACE  
>Hahaha, can you imagine it, Roy? Me in<br>my Ghostface costume driving in a Volvo  
>while going from one place to another,<br>beating you there every time just to make  
>it THAT much more fun for me?<p>

ROY  
>You're fucking sick.<p>

GHOSTFACE  
>All the famous artists are and were.<p>

ROY  
>This is about fame? You want people to -<br>study this? Is that why you want it on  
>the radio?<p>

GHOSTFACE  
>Fame? Please, Roy. That was so Mickey<br>and Jill. My game is more complex than  
>that. No more questions. Drive.<p>

Roy gives in and puts the car back into 'drive', taking his now beat up car further down the road in the pouring rain.


	16. Round 1: The Fate of Louis

CUT TO:  
>INT. AIRPORT - NIGHT<br>Gale means business walking through the terminals of an airport in Ontario, California. Outside, it's raining as the storm is just right outside of the area. She wheels her bag closely behind her, her heels clinking against the tile. Wide eyed, she sees the rental car station and runs up to it.

GALE  
>Hi, I need a car to take to Woodsboro.<p>

RENTAL CAR ATTENDANT  
>You're... you're Gale Weathers!<p>

GALE  
>Yes. The car please.<p>

RENTAL CAR ATTENDANT  
>Oh my God, I've read ALL your books.<p>

GALE  
>(hands him her ID)<br>That's great, now punch in my info and  
>get snappin' to it!<p>

RENTAL CAR ATTENDANT  
>Okay. Not a problem, I can do that for<br>Gale Weathers!  
>(clicks happily on his computer)<br>Would you like to buy the premium insurance  
>package for your car? Highly recommended<br>since there is a storm out there right now.

GALE  
>Fine.<p>

RENTAL CAR ATTENDANT  
>What about the premium gas expenture for<br>$99.99? Flat rate of gas, drive to your  
>point of destination and no matter the<br>incidents that may occur, all the gas is  
>on us.<p>

GALE  
>I'm only driving an hour away, I don't<br>need that much gas! Jesus, who would pay  
>for that?<p>

RENTAL CAR ATTENDANT  
>But you're Gale Weathers...<p>

GALE  
>And?<p>

RENTAL CAR ATTENDANT  
>You can afford it... plus there might be<br>traffic, you never know.

GALE  
>Listen, can I tell you a little secret?<p>

RENTAL CAR ATTENDANT  
>(smiles)<br>Sure!

GALE  
>(whispers and says with a big smile)<br>If you don't just give me my God damn  
>car, my heel is going to be punctured in<br>to your throat!

RENTAL CAR ATTENDANT  
>Enough said.<p>

He quickly types in the rest and Gale feels vindicated.

CUT TO:  
>INT. ROY'S CAR - NIGHT<br>Roy drives the car with a mission in hand: not to die by not following the rules. He keeps the phone to his ear, glued to every word Ghostface is saying.

GHOSTFACE  
>First question, first round: a simple<br>"answer the question correctly or they  
>die" round. Think you can handle that?<p>

ROY  
>Yes.<p>

GHOSTFACE  
>Good. Now - -<p>

POLICE LIGHTS BEAM BEHIND ROY'S CAR, TRYING TO PULL HIM OVER.

ROY  
>Shit, I'm being pulled over. What do I<br>do?

GHOSTFACE  
>Keep going... PULL OVER, OF COURSE. What<br>else is the protocal to flashing police  
>lights?<p>

ROY  
>Okay, okay.<p>

GHOSTFACE  
>REMEMER THE RULES.<p>

Roy pulls over off to the side of the road and the police car parks behind him, beaming the light brightly through his back windshield.

GHOSTFACE  
>Look in the glove box.<p>

Roy looks over and goes to reach for it. The cop can be seen approaching in the background. Roy opens the glove box - - THERE'S A KNIFE.

ROY  
>What the fuck is this doing in here?<p>

GHOSTFACE  
>STAB THAT COP IN THEIR FUCKING FACE WHEN<br>THEY LEAN OVER INTO YOUR DRIVER SIDE WINDOW.

ROY  
>I'm not gonna do that!<p>

GHOSTFACE  
>Funny how after all these years and incidents,<br>parents still let their children wander around,  
>ESPECIALLY in public places. I see a little<br>girl, 6 years old at the most... I COULD EASILY  
>FINISH HER OFF.<p>

ROY  
>Wai - wai - wait! Don't do that!<p>

GHOSTFACE  
>Than do what I TOLD YOU TO DO. We have<br>places to be!

Roy looks at the knife and thinks of the girl on the other end. He grabs the knife, closes the glove box and puts the knife to the side of him.

ROY  
>FINE...<p>

GHOSTFACE  
>MAKE IT COUNT.<p>

The cop reaches the window and knocks with his knuckle. Roy takes his time, shaking out of his own skin. He slowly rolls down the window... The cop leans down...

PULLING OVER COP  
>Licence and registration.<p>

Roy gives it to him, the knife still at his side. Ghostface quietly laughs on the other end of the phone. Roy slowly starts to clutch the knife. THE MUSIC INTENSIFIES

PULLING OVER COP  
>What are you doing out here in all this<br>rain? You should be inside... trying to  
>keep warm.<p>

ROY  
>(gulps)<br>You're right...

His hand slowly starts to rise, shaking uncontrollably.

GHOSTFACE  
>GET ON WITH IT, ROY. This little girl's<br>LIFE is counting on it!

Roy grits his teeth, trying to man up and looks away from the cop, unable to look at the man he is about to KILL. The cop takes note of Roy's strange behavior and bends down, trying to look at him.

PULLING OVER COP  
>Sir, are you alright?<p>

GHOSTFACE  
>I am pulling out my knife as we speak...<p>

ROY  
>Yeah... I'm sorry sir, I'm... I'm fine...<p>

The cop's head gets closer and closer. THE MUSIC RISES. ROY CLOSES HIS EYES AND HE - - the cop waves the ticket in his face, handing it to him.

PULLING OVER COP  
>This storm is a warning all on it's own.<br>But here's a fix it ticket for that hood  
>of yours, that's a potential danger. I<br>gotta get out of here but just keep safe!

The cop walks away back to his car and Roy drops the knife, letting out a gasp of air.

GHOSTFACE  
>Pussssyyyyy.<p>

ROY  
>There never was a little girl, was there?<p>

GHOSTFACE  
>Of course not. I wouldn't want you to kill<br>that cop anyway, Roy, I leave the killing up  
>to ME.<p>

The cop behind him drives off and Roy is still reeling from the shakes that are taking over his body.

GHOSTFACE  
>Nice of him for the fix it ticket though.<br>NOW GET YOUR ASS MOVING. I'll get right  
>back to you in a second...<p>

CUT TO:  
>INT. KIRBY'S ROOM - NIGHT<br>Mr. Leeds knocks on the front door in the pouring rain, waiting for someone to answer the door. Beverly lets him in and points him up the stairs. Kirby watches out the crack of her door slightly open and passed the chandelier hanging in the way. Mr. Leeds jogs up the stairs and Kirby opens her door, letting him in.

MR. LEEDS  
>Okay, Kirby, what's wrong?<p>

KIRBY  
>(breaking down again)<br>Everything you said about being strong and  
>standing tall, all that shit about keeping<br>your sense of humor through tragedy and  
>being a survivor, all that SHIT, I can't do<br>it anymore, Mr. Leeds, I just can't. This is  
>just too much for me, I'm losing my fucking<br>mind. And Roy is on the radio and Ghostface  
>is gonna kill everybody know and probably<br>him included and it's all my fucking fault!

MR. LEEDS  
>Whoa, whoa, whoa, it's not your fault!<br>(he holds Kirby by the side)  
>That's the number one thing to remember<br>through every incident in our lives. None  
>of it is our fault and we have to realize<br>there are other opposing forces in our  
>lives trying to take to control! We have<br>to steer the wheel in our lives, Kirbiline!  
>That's the only way.<p>

Kirby is comforted by this type of talk. She pants, calming down and rests her head on his shoulder. He moves the hair out from her face.

MR. LEEDS  
>You're so beautiful, Kirby... you know that,<br>don't you? You should never be sad.

Kirby feels some awkward tension going on here and lifts her head up, wiping the tears from her eyes.

KIRBY  
>Thank you for coming, Mr. Leeds.<p>

MR. LEEDS  
>I would do anything for you...<p>

The thunder roars outside as he tries to stare into her eyes.

KIRBY  
>What are you doing?<p>

MR. LEEDS  
>What?<p>

KIRBY  
>Are you seriously trying to hit on me while<br>I'm vulnerable? You're like almost half  
>my age! You-you're an instructor.<p>

MR. LEEDS  
>I'm twenty-nine, Kirby, it's not that big<br>of a stretch. There's been worse, I assure  
>you.<p>

KIRBY  
>(almost hurt)<br>What?

MR. LEEDS  
>I'm not hitting on you! I'm just trying<br>to make you feel special. Is that so wrong?

KIRBY  
>(beat)<br>We should go downstairs. I need to talk to  
>Kincaid.<p>

Kirby exits the room, leaving Leeds there by himself. He sighs and smacks himself in the forehead.

MR. LEEDS  
>Why would you do that?<p>

CUT TO:  
>EXT. HOME DEPOT PARKING LOT - NIGHT<br>Roy enters the parking lot which is nearly empty and takes a spot. Ghostface clicks back over again.

GHOSTFACE  
>Hooray... you made it.<p>

ROY  
>Yup.<p>

GHOSTFACE  
>NOW I'll ask you question #1, it should<br>be easy for you since it's based on your  
>favorite franchise, Friday the 13th.<p>

ROY  
>Go for it.<p>

GHOSTFACE  
>What is the total body count in all of<br>the Friday the 13th movies, including  
>Mrs. Voorhees &amp; copycat Jason?<p>

ROY  
>Uh... let me think... that's... 10 in<br>the first one... uh... Jason X had the  
>highest body count with more than 25<br>or so at the least and then there's...  
>Jason Lives with the-with the triple<br>decapitation... it's so many, it's  
>something along the lines of, uh...<p>

GHOSTFACE  
>I need an EXACT number. The president<br>of the CINEMA CLUB should know that.

ROY  
>Okay, just... give me a sec...<p>

GHOSTFACE  
>Tick-tock, time is RUNNING OUT!<p>

ROY  
>Okay, okay, I have an answer!<br>(beat)  
>146!<p>

GHOSTFACE  
>CORRECT!<p>

Roy lets out a sigh of relief and relaxes more in his chair.

GHOSTFACE  
>... if we're only talking about the<br>original series.  
>(beat)<br>You totally forgot the body count of  
>the remake, didn't you?<p>

ROY  
>What?<p>

GHOSTFACE  
>Love it or hate it, Roy, IT'S APART of<br>the series.

ROY  
>No, no, no, you said the body count of<br>the ORIGINAL series, you never said  
>anything about any remakes!<p>

GHOSTFACE  
>I'm afraid not! No way...<p>

ROY  
>Fuck you, I was right!<p>

GHOSTFACE  
>Only partially...<p>

ROY  
>(smashes on the wheel)<br>DAMMIT!

CUT TO:  
>INT. HOME DEPOT STOCK ROOM - NIGHT<br>Louis and Joseph throw bags of bird seed into a pile of Home Depot's MASSIVE stock room.

LOUIS  
>We got about 9 more pallets and then<br>we're done for the night.

JOSEPH  
>You serious? I'm off right now, it's<br>11.

LOUIS  
>Oh, c'mon, Jo, help me out here.<p>

JOSEPH  
>Dude, it's been a long fuckin' night<br>loading pallets and shit, just ask  
>Tony to help you.<p>

LOUIS  
>Whatever, man.<p>

Joseph's phone rings. He quickly answers.

JOSEPH  
>Hello?<p>

KIRBY (O.S.)  
>Joseph! Have you heard yet?<p>

JOSEPH  
>Heard what, I've been working all night?<p>

KIRBY (O.S.)  
>Look, whenever you're off, you need to<br>come to my house immediately and make  
>sure your security is with you!<p>

JOSEPH  
>Whoa, whoa, Kirby, slow down. Just<br>tell me what's going on.

KIRBY (O.S.)  
>He's coming after US, Joseph. He's<br>coming after the Cinema Club.

JOSEPH  
>What about the Survivor's Club? I thought<br>this had nothing to do with us? I thought  
>WE were the suspects!<p>

KIRBY (O.S.)  
>That's what they wanted us to think. Louis<br>is there with you, right?

JOSEPH  
>Yeah, he's right here next to me.<p>

LOUIS  
>Who's that?<p>

Joseph mouthes "Kirby" and Louis scoffs, continuing with moving the bags of bird seed.

KIRBY (O.S.)  
>Tell him to come here too but don't try<br>to make a big scene about it!

JOSEPH  
>What if he says "no?"<p>

KIRBY (O.S.)  
>DON'T LET HIM.<p>

JOSEPH  
>I'll try my best. I'll be there in ten.<p>

Joseph hangs up and looks on at Louis.

JOSEPH  
>Hey, Kirby wants you to come over to her<br>house. Apparently the killer is coming  
>after Cinema Club and she wants everyone<br>in one spot.

LOUIS  
>I got work, man. I can't miss it, I gotta<br>pay off prom.

JOSEPH  
>Well I told her you would say "no..."<p>

LOUIS  
>Honestly, Joseph, I don't really like her.<br>But you know that.

JOSEPH  
>Yeah, well given the circumstances, you<br>can oblige, right?

LOUIS  
>Look, I'll be fine here. Tony's got my<br>back, right Tony?

Tony looks up. This guy is HUGE, like a bodybuilder. He nods and grunts.

JOSEPH  
>Alright well... when you get off than?<p>

LOUIS  
>I'll be there, I just need to work for now.<p>

JOSEPH  
>So that's not a "no" right? She wanted me<br>to stress that you CAN'T say no.

LOUIS  
>I'LL BE THERE. Go, be safe. She's right,<br>it's a good idea.

JOSEPH  
>Call or text if you need anything.<br>(walking away)  
>See ya, Tony!<p>

Joseph jogs off, taking off his apron. Louis continues throwing around bird seed. He wipes the sweat off his brow.

CUT TO:  
>INT. ROY'S CAR - NIGHT<br>Roy stresses out in his car, trying not to breakdown.

ROY  
>Just give me another question, I can<br>answer it right! Just give me another  
>shot!<p>

GHOSTFACE  
>Do me a favor, Roy. Pull your seat back<br>and stay down for a second.

Roy knows to do first and ask questions second now.

ROY  
>Why, may I ask?<p>

GHOSTFACE  
>It's bad enough your car is there! I<br>can't have Joseph see you too and know  
>you're on to something...<p>

ROY  
>Look, just -<p>

GHOSTFACE  
>I DON'T HAVE TO WAIT, I CAN KILL HIM TOO<br>RIGHT NOW, IF YOU WANT!

ROY  
>I'm staying down! Shit! But just give<br>me another chance at this first question  
>for Louis's sake! I don't fuckin' like<br>the guy but c'mon!

Joseph's car drives by and out the parking lot.

GHOSTFACE  
>Get up, you look pathetic.<p>

ROY  
>... is that a "yes?"<p>

GHOSTFACE  
>That's one question out of the many I'll<br>be asking you you've got wrong. Get the  
>majority right and I'll let YOU live.<br>START DRIVING AGAIN.

ROY  
>And go where this time?<p>

GHOSTFACE  
>A little abandoned factory down Chesapeke<br>Lane. GET GOING.

Roy turns on the car and starts to exit the parking lot.

ROY  
>Thank you.<p>

GHOSTFACE  
>For what?<p>

ROY  
>For sparing his life.<p>

GHOSTFACE  
>Roy... I said I was gonna let you live.<br>NOT LOUIS.

CUT TO:  
>INT. HOME DEPOT STOCK ROOM - NIGHT<br>Louis pounds up the last bag of bird seed. Behind him, Tony walks off to presumably the break room. Louis moves on to the next batch. He grunts, this has become a tiring process. In mid lifting, Louis notices Tony's gone. He throws the bag on top of the heap and starts walking back.

LOUIS  
>Tony? Where are ya?<p>

Louis looks to the door going to the open floor - - it's swinging open. He continues on.

INT. HOME DEPOT MAIN FLOOR - CONTINUOUS  
>Louis walks down the aisle leading out from the door - - HARDWARE.<p>

LOUIS  
>Tony, where'd you go, man? Whatever<br>happened to the midnight stocking shift  
>buddy system? Always tell a fellow<br>stocker where you're going!

Louis reaches the end of the row and stops, looking on into the vast compounds that is Home Depot and it's plentiful aisles. A SAW SMASHES AGAINST THE FLOOR behind Louis. He jumps and turns around, startled.

LOUIS  
>Okay, Tony, you win... I'm scared.<p>

GHOSTFACE APPEARS FROM BEHIND LOUIS AND GRABS HIM, THROWING HIM INTO THE SHELVES. The metal and clinking toys come CRASHING DOWN upon them. Louis fights back, trying to aim for Ghostface's juggular. Ghostface LETS OUT HIS KNIFE AND SWINGS ACROSS LOUIS'S STOMACH but HE JUMPS BACK, only CUTTING HIS SHIRT. Louis takes the upperhand and nearly THROWS Ghostface behind him into the jackhammers, falling to the ground.

Louis PICKS ONE UP AND LIFTS IT ABOVE HIS HEAD, READY TO STRIKE. He SLAMS it down as Ghostface ducks out of the way, BREAKING against the concrete, CRACKING IT. Ghostface grabs the SAW on the floor and RUNS AT LOUIS, HOLDING IT IN STABBING POSITION. LOUIS goes to lift his JACKHAMMER ONCE MORE and USES IT to BLOCK THE SAW GHOSTFACE IS ATTACKING HIM WITH.

Louis PUSHES HIM off and looks for a less heavy weapon. There's a GIANT WRENCH off to the side and he dives for it, GRABBING IT OFF THE WALL. He swings it in his defense, trying to SCARE GHOSTFACE OFF.

LOUIS  
>C'mon! C'MON!<p>

GHOSTFACE RUNS OFF AND OUT OF THE AISLE! Louis chases him down but by the time he makes it off the aisle - - GHOSTFACE IS GONE.

LOUIS  
>Where'd you go, HUH? You little bitch!<p>

Louis looks through each aisle, swinging his WRENCH madly through the air. Louis than sees the DOOR aisle and proceeds down it.

LOUIS  
>Oh, I think I know where you are...<p>

LOUIS KICKS IN THE DOORS AT HIS LEVEL, looking behind them for any masked murderers.

LOUIS  
>C'MON! What are you waiting for, huh?<p>

Louis kicks in the last door of the aisle!

LOUIS  
>WHAT ARE YOU WAITING FOR?<p>

GHOSTFACE  
>PERFECT TIMING!<p>

GHOSTFACE BURSTS THROUGH A DOOR ABOVE, JUMPS DOWN AND SLAMS THE KNIFE INTO LOUIS'S BACK. Louis falls to the floor and the wrench slides away from his grip. Louis tries to get up but is too weak. GHOSTFACE eyes the wrench. He slowly picks it up, letting it drag across the ground, taunting Louis.

LOUIS  
>C'mon... DO IT! DO IT ALREADY!<p>

GHOSTFACE SLAMS THE WRENCH INTO LOUIS'S ANKLE, CRACKING IT. Louis screams in pain and looks down - - HIS BONE IS STICKING STRAIGHT OUT HIS PANT LEG. Ghostface circles around the other side, dragging the wrench some more. Louis reaches out, pleading.

LOUIS  
>No, c'mon! Please, I'm sorry! I'm<br>sorry, I'll do whatever you want.

THE WRENCH CRACKS AGAINST HIS WRIST, CRACKING IT COMPLETELY IN HALF BACKWARDS. Louis shivers, banging his head against the ground to deal with the pain. Ghostface GRABS LOUIS by his FEET and DRAGS HIM to the next aisle over - - WINDOWS. At this point, Louis can't even feel the pain but is completely immobile. Ghostface positions him in the middle of the entire row, Louis looking around at his surrounding.

LOUIS  
>Just... tell me why.<p>

Ghostface unveils the saw from before from beneath the cape and WEDGES it beneath two doors and Louis's above his stomach area. Ghostface walks away... Louis feels a slight moment of relief. The music dies down... he sits in the queit of the aisle... trying to gain the strength to move with a shattered wrist and ankle.

The wall of windows suddenly gets a bit closer. He watches them... AS THEY CRASH DOWN TOWARDS HIM.

LOUIS  
>NO!<p>

THE SAW MAKES IMPACT WITH LOUIS'S STOMACH, IMPALING HIM, AS the ENTIRE ROW of WINDOWS SMASHES ON TOP OF HIM AFTER, SHATTERING INTO A MILLION PIECES EVERYWHERE with blood bouncing off of tiny pieces of see through. There's a moment of silence... AND THE SCREEN GOES BLACK.


	17. Round 2 & 3: Up, Close and Personal

CUT TO:  
>INT. POLICE DEPARTMENT - NIGHT<br>THE SCREEN SPRINGS BACK TO LIFE. Kincaid and Pecard march in through the doors and toward Dewey's office. On the way, the entire room is crowded up next to one table, listening into the radio.

KINCAID  
>Are we working here, or what?<p>

The crowd scatters and back to their desks.

PECARD  
>I'll get the directions to that factory.<p>

KINCAID  
>Thanks.<p>

INT. DEWEY'S OFFICE - CONTINUOUS  
>Kincaid bursts in, papers fly everywhere, starting Martha. Kincaid realizes and starts to move a bit more carefully and starts to ruffle through the room, searching for something.<p>

KINCAID  
>You're not listening to the radio?<p>

MARTHA  
>And feed that bastard's fame? Please.<br>If he wants to go immortalize himself, go  
>make a Paranormal Activity or a Blair<br>Witch, don't go slashing up kids in  
>Woodsboro.<p>

KINCAID  
>We're close. You'll be home by tomorrow, I<br>promise!

MARTHA  
>Yeah, well - -<br>(chewing on a bag of chips)  
>- - all I'm asking for is a decent vending<br>machine, ya know?

KINCAID  
>Order a pizza.<p>

MARTHA  
>I did like two hours ago and nobody has<br>shown!

KINCAID  
>(stops)<br>I'm sorry. Have you seen a map around  
>here, by any chance?<p>

MARTHA  
>Someone came in and took it.<p>

There's a beat and Kincaid immediately heads back out.

INT. POLICE DEPARTMENT - CONTINUOUS  
>Kincaid walks back out and Pecard runs up to him, directions already in hand.<p>

KINCAID  
>Okay, I want you to assemble a three man<br>crew, nothing big so that we can be spotted  
>and have them get suited up. We're taking<br>this fucker down.

PECARD  
>So if they ask, what is the plan exactly?<p>

KINCAID  
>(finds the map on the wall)<br>He gave his next location. If he really  
>did just murder Louis, he needs time to<br>travel to the factory. Most likely, he'll  
>try to postpone Roy a bit longer, diverge<br>his direction, letting himself get ahead, show  
>up, set up for whatever he has planned and<br>let Roy come to him. If we're quick enough,  
>we'll get there before either of them do.<br>The way I see it, he's not gonna make Roy  
>go to a place that he can't keep his eye on<br>him, which is why he made him go to the  
>Home Depot.<p>

PECARD  
>In case he tries to play hero, he can pick<br>him off automatically and go after the rest?

KINCAID  
>Exactly.<p>

PECARD  
>Sounds like a good plan.<p>

Pecard walks off as Kincaid stares at the map longer. He grabs a thumbtack, placing it in the location of the Home Depot at the furthest south point of town. He looks at the directions in his hand quickly and back at the map, picking up another thumbtack. He traces his hand across, looking for the location of the factory. The furthest west point of the city.

KINCAID  
>(talking to himself)<br>This placing is deliberate. He's keeping him on the  
>move...<br>(looks back at the officers hard at work  
>and back at the map)<br>... if he's constantly on the move, going  
>between different cell phone recieving areas,<br>it makes it harder to triangulate his position.

Grabs another thumbtack and places it dead square in the middle of the city.

KINCAID  
>Kirby's house... smack dab in the middle...<br>he can go there at any time...

CUT TO:  
>INT. KIRBY'S LIVING ROOM - NIGHT<br>Kirby is on the phone, waiting for a call to go through. Nobody answers.

KIRBY  
>Shit.<p>

SIDNEY  
>No answer?<p>

KIRBY  
>Harold hasn't been answering his calls or<br>texts all day, I'm getting worried... I'm  
>calling Niley.<p>

Kirby walks off, Sidney going toward the front window, looking out at the squad of police posted and waiting.

KIRBY  
>She's not answering either!<p>

SIDNEY  
>Did you try Louis?<p>

KIRBY  
>Sidney, he's dead!<p>

SIDNEY  
>He could be bluffing. We don't have concrete<br>proof of that yet...

KIRBY  
>I'll try just to make you happy.<p>

Mr. Leeds come in through the front door, drenched from head to toe, carrying a pizza.

MR. LEEDS  
>I'm back! I brought pizza!<p>

SIDNEY  
>I'm sorry, Mr. Leeds, if you would've told<br>us that's where you were going, I woulda  
>told you, we just ate.<p>

MR. LEEDS  
>Oh... well, hey, more for me.<p>

Mr. Leeds puts the pizza on the table and opens it up, grabbing the paper plates provided.

SIDNEY  
>Have you talked to anyone from the Survivor's<br>Group? Is everything okay?

MR. LEEDS  
>Oh yeah, they're all fine. They feel safe.<p>

SIDNEY  
>Safe? Do they know about the radio show?<p>

MR. LEEDS  
>(eyes shift)<br>I didn't talk to them THAT recently.

SIDNEY  
>Oh...<p>

Kirby comes back, biting her phone.

KIRBY  
>As expected, no reply from Louis.<p>

SIDNEY  
>(sighs)<br>Jesus, where are they?

Kirby's phone rings. It's Joseph.

KIRBY  
>Are you here?<br>(pauses)  
>Okay, hold on a second.<p>

Kirby opens the door, letting Joseph in.

JOSEPH  
>Holy fuck, it's raining! Biblical<br>proportions out there. You guys seem  
>dry... where's everybody else?<p>

KIRBY  
>I can't get a hold of anybody, I'm<br>getting really concerned, Jo.

JOSEPH  
>Don't worry, they're probably fine.<p>

KIRBY  
>Fine? Haven't you been listening?<p>

JOSEPH  
>(picking up pizza)<br>Listening to what?

KIRBY  
>... THE RADIO!<p>

JOSEPH  
>(chewing)<br>Oh, I hate the radio. They just play the  
>same shit over and over.<p>

KIRBY  
>The killer killed Louis. And he's after<br>someone else next and we don't know who.  
>(smacking his arm)<br>And I fucking precisely told you to make  
>sure you brought him!<p>

JOSEPH  
>What do you mean they killed Louis? I<br>just saw him before I got here. He was  
>working, he couldn't leave!<p>

KIRBY  
>Right after you left... they waited for<br>you to leave...

JOSEPH  
>Wait, wait, hold on, how is this on the<br>radio?

KIRBY  
>Fuck, I - I didn't have time to tell you.<br>Look, Roy is on the air... with Ghostface  
>RIGHT NOW. You hear that talking in the<br>background?

JOSEPH  
>I thought you were watching a stupid Stab<br>movie or something, how the fuck could you  
>not tell me this?<p>

KIRBY  
>Jo, like I said, I had no time, I wanted<br>to call everybody else and get them here  
>before they got to them too!<p>

JOSEPH  
>(collecting himself)<br>Kirby... I'm sure, if you would have said,  
>"grab Louis, he is about to DIE if you<br>don't", I would have made more of a point  
>to do it! Now I feel guilty!<p>

KIRBY  
>I had a lot on my mind!<p>

JOSEPH  
>(sighs)<br>So... so what's next?

KIRBY  
>They're heading to a factory on Chesapeke<br>Road. He's quizzing Roy. Eventually,  
>it'll be our turn... if he answers any<br>question wrong, he'll kill us...

JOSEPH  
>Great! Great! This is great fuckin' news!<p>

Sidney's phone rings. "Restricted." Kirby looks at Sid with a "well are you gonna answer it?" look. She answers.

SIDNEY  
>Hey fuck face, how's it goin'?<p>

GHOSTFACE  
>Oh Sid, that's not nice...<p>

SIDNEY  
>I'm through with nice, bitch.<p>

GHOSTFACE  
>(chuckles)<br>Whoa! What's next? Is Sid going to show  
>some grauitous nudity?<p>

SIDNEY  
>Yup... right after you open your legs us<br>and show us your pretty pink cunt.

Kirby's eyes are wide in shock.

GHOSTFACE  
>(gut busting laugh)<br>OH SIDNEY! STOP IT! Seriously, it hurts!  
>You know, I wasn't planning on it, but now<br>I'm seriously considering CUTTING YOU UP.

SIDNEY  
>Check the body count, I'm racking one up myself.<br>In fact, I think I'm getting quite handy  
>at the whole ordeal. I've gotten pretty used<br>to cappin' bitches like you in their skull  
>if they gotta little too fiesty but I think<br>I might up my game and rip your fucking  
>throat out with my bare hands because honestly,<br>this time around, you're talking a little bit  
>too much for my taste and it's not all that<br>scary anymore...

GHOSTFACE  
>GANGSTA SIDNEY! Oh God, if this were a Stab<br>movie, the fanboys would be going NUTS.

SIDNEY  
>Face me and find out.<p>

GHOSTFACE  
>Sidney... give the phone to Joseph... PLEASE.<p>

SIDNEY  
>(handing the phone over)<br>Only because you asked nicely.  
>(covering the receiver)<br>Don't fall for his game...

JOSEPH  
>(answers)<br>Hello?

LOUIS (O.S.)  
>Don't let him kill me, Jo! Please, help<br>me, OH MY GAAAAAAH!

The screams turn into Ghostface's deep, twisted voice. Ghostface chuckles.

GHOSTFACE  
>How does it feel to know you could've<br>SAVED a man's LIFE?

JOSEPH  
>If I ever find you...<p>

GHOSTFACE  
>You'll do WHAT exactly? Fight back? Louis<br>didn't do so well...

JOSEPH  
>Why you talking to me? Am I the next one?<br>Did Roy answer my question right or not?

GHOSTFACE  
>Oh, this next round isn't for you, Joey-boy.<br>I just wanted to say... hello. And welcome.

JOSEPH  
>Welcome?<p>

GHOSTFACE  
>To Kirbiline Reed's house. Wait for it, Jo,<br>IT'S GONNA BE A BLOODBATH.

JOSEPH  
>There's a dozen cops out there, it'll never<br>happen.

GHOSTFACE  
>I'll stop at nothing to make sure it does...<p>

JOSEPH  
>Yeah, well, I'll be waiting!<p>

GHOSTFACE  
>For what? For me to GUT YOU JUST LIKE<br>YOUR SISTER?

JOSEPH  
>You'll have to find me first, fucker!<p>

Joseph hangs up. Everyone in the room is frozen, unsure of how to handle Joseph's emotional state.

JOSEPH  
>I uh... I can't just sit here and wait to die.<p>

SIDNEY  
>Joseph, it's safe... there's cops all ar -<p>

JOSEPH  
>There were when my sister was murdered too.<br>The amount may have quadrupled but... what  
>do I know?<br>(beat)  
>We should all leave. He knows where we are,<br>we should all go.

KIRBY  
>I feel safe here, Jo... there's no way he<br>could... get to us with all those cops out  
>here, no matter weapon he has. It's just<br>impossible.

JOSEPH  
>He could have a machine gun or something!<p>

SIDNEY  
>I don't think that's his style...<p>

KIRBY  
>He's not the Terminator shooting down cops<br>from Cyberdyne, Jo, this is just a normal,  
>pussy ass guy who has to kill people to<br>make himself feel better...

JOSEPH  
>What if we leave the city? It's that<br>simple. We just go, he'll never find us  
>or catch up without getting caught.<p>

MR. LEEDS  
>The highways are at a standstill, there's<br>no way we can leave anywhere.

JOSEPH  
>Than we take the side streets.<p>

KIRBY  
>Joseph - -<p>

JOSEPH  
>What? I'm fuckin' tired of these stupid<br>excuses!

SIDNEY  
>You know what, Jo, you're right. That's<br>a good plan.

KIRBY  
>Well, what about Niley and Harold? We<br>can't just leave them here! Roy is  
>obviously a different story.<p>

SIDNEY  
>If you're not in contact with them in the<br>next thirty minutes, they're dead.  
>(beat)<br>And we're getting out of here. Then you'll  
>call Roy, tell him where we're going and<br>he can meet up with us and he'll be safe too.

KIRBY  
>(walking away)<br>Fine... give me those thirty minutes...

SIDNEY  
>(to Joseph)<br>You'll need some clothes in case this doesn't  
>blow over tonight. I can go with you back to<br>your house, if you want.

JOSEPH  
>Thank you.<p>

SIDNEY  
>Mr. Leeds, could you stay here in the mean<br>time?

MR. LEEDS  
>Alone with Kirby?<p>

SIDNEY  
>Yeah... I mean, no, Beverly is upstairs. She<br>usually is.

MR. LEEDS  
>(beat)<br>Sure, that sounds fine.

SIDNEY  
>Thanks. Let's go. You're driving.<p>

Sidney and Joseph head out the door. Mr. Leeds stands up from the table and fixes himself, looking in a mirror and trying to come off as presentable.

MR. LEEDS  
>She is only 18... she is only 18...<p>

CUT TO:  
>EXT. CHESAPEKE FACTORY - NIGHT<br>Kincaid stands under a tin roof, the rain tapping aggressively above. Pecard exits from inside the factory, his gun drawn.

PECARD  
>There's nothing inside!<p>

KINCAID  
>You sure?<p>

PECARD  
>We looked up and down that place... he's<br>leading him to a vacant factory.

KINCAID  
>No... he lead us to one. You live here,<br>Pecard, what other closed factories are  
>in the area?<p>

PECARD  
>I honestly don't know...<p>

KINCAID  
>Let's get out of here, we're wasting our<br>time!

CUT TO:  
>INT. ROY'S CAR - NIGHT<br>Roy looks down at his cellphone, trying to read a text. He is now approaching an abandoned factory of some sort.

ROY  
>I don't understand these directions at all,<br>this is nowhere near Chesapeke.

GHOSTFACE  
>That's the point. Park the car...<p>

ROY  
>Where's your Volvo...?<p>

Roy parks.

GHOSTFACE  
>... Question number 2, Roy, are you ready?<p>

ROY  
>May I know who this is for?<p>

GHOSTFACE  
>You're right, I'm being rude. I'm not letting<br>my FANS completely in on the action, am I?  
>This one... is for Harold.<p>

ROY  
>Where is he?<p>

GHOSTFACE  
>He's on his way... double down round, you<br>have to answer the question correctly and  
>so does Harold. So now, HERE'S THE QUESTION...<p>

CUT TO:  
>INT. KINCAID'S CAR - NIGHT<br>Kincaid drives through an open field, mud SPLATTERING against the windows. He clutches the steering wheel with a firm grip; HE MEANS BUSINESS. On the radio is the conversation - it's passed Roy answering the question and Harold is being dialed in.

HAROLD (O.S.)  
>Hello?<p>

GHOSTFACE  
>Hello Harold...<p>

HAROLD (O.S.)  
>I'm almost there... is Roy going to be okay?<p>

CUT TO:  
>INT. ROY'S CAR - NIGHT<br>Roy looks on, confused. Did Ghostface trick Harold into thinking that Roy was in trouble to lead him here?

GHOSTFACE  
>He will be... if you answer this question.<br>He already got it right, now it's your turn...  
>you haven't been listening in like I told<br>you not to, RIGHT? Because I would know if  
>you're lying...<p>

HAROLD (O.S.)  
>No, no...<p>

GHOSTFACE  
>Good... name the film the quote... "all<br>work and no play makes Jack a dull boy"  
>appears in...<p>

HAROLD (O.S.)  
>Uhhhh... I - I don't know. Lemme think.<p>

ROY  
>(covering the phone so he can't be<br>heard)  
>He doesn't know his horror films from the<br>eighties... he's lived off remakes, he'll  
>never get this...<p>

GHOSTFACE  
>Oh, C'MON! I'll give ya a hint... this<br>film is infamous for having multiple scenes  
>in the movie be done up to and including<br>more than 100 takes...

Roy looks down at his phone and thinks quick. He begins to write in a text and sends it to Harold... he waits...

HAROLD (O.S.)  
>Uh... oh, I know! The Shining!<p>

GHOSTFACE  
>Great job, Harold! Roy is going to make<br>it because of you... I'll leave him here  
>for you to pick up... see ya soon.<p>

Ghostface switches back over to Roy.

GHOSTFACE  
>Did'ya hear that Roy? Your buddy Harold<br>made it...

ROY  
>Smart kid...<p>

GHOSTFACE  
>Come inside and wait for him to drop in.<br>I don't want you to see me drive away in  
>my Volvo...<p>

INT. ABANDONED FACTORY - CONTINUOUS  
>Roy enters, cautious of what happens next. He looks around, curious as to whatever tricks may be up Ghostface's sleeve. The lights are completely off and it's pitch dark. Roy's footsteps echo amongst the walls, meshing in with the sound of the rain. Roy stands in space, not daring to move any further in. FLOOD LIGHTS BEAM ON, FILLING THE ENTIRE ROOM WITH LIGHT. A FIGURE FALLS FROM THE CEILING, COMING CRASHING DOWN TOWARDS ROY. ROY DUCKS OUT OF THE WAY, putting his guard up.<p>

He looks up... it's Harold, tied in chains with his neck slit. Roy's jaw shivers and eyes widen, completely not believing what he's seeing. We hear another foot step in the room from above... Roy looks up AND THERE STANDS GHOSTFACE at the top of a catwalk.

GHOSTFACE  
>He could've lived Roy... but you had to<br>CHEAT.

Ghostface throws down a cell phone and Roy catches it. He looks at the screen with "The Shining" printed on it.

GHOSTFACE  
>How many more lives are you going to be<br>responsible for?

GHOSTFACE PULLS ON A LEVER AND THE CATWALK DROPS TO THE GROUND, STOPPING BEFORE IT TOUCHES THE FLOOR. Ghostface stands motionless as if the drop didn't effect him. The gate opens and Ghostface slowly comes towards Harold's bleeding out body.

GHOSTFACE  
>(using Harold's voice)<br>You see, Roy... maybe if you would take me  
>a bit more seriously, these things wouldn't<br>HAPPEN.

ROY  
>You tricked me.<p>

GHOSTFACE  
>You cheated! I thought I'd come face to<br>GHOSTFACE with you to show how REAL I am in  
>case you had any DOUBT! I have to make a<br>statement... we agreed to rules and you're  
>not abiding by them.<p>

ROY  
>Look... I promise... I swear to God, I<br>won't do it again.

GHOSTFACE  
>SWEAR TO ME!<p>

ROY  
>You think I want these people to die? Huh?<p>

GHOSTFACE  
>You tell me... afterall, that's what you're<br>here for...

ROY  
>What does that mean...?<p>

GHOSTFACE  
>YOU KNOW WHAT I MEAN. NOW WE HAVE A GAME<br>TO FINISH! Two more questions left... and  
>then it's time for my BIG FINALE. Then you<br>can prove you're worthy to LIVE... until than...  
>(gets right in Roy's face)<br>YOU PLAY THE GAME LIKE YOU'RE SUPPOSED TO.

GHOSTFACE PULLS THE PLUG ON THE LIGHTS, DARKNESS SWALLOWING THEM BOTH WHOLE. We can hear Ghostface's feet scurry off, leaving Roy alone with Harold's swinging dead body.

CUT TO:  
>MONTAGE - -<br>Teenagers listen on the radio.  
>Computer screens clicking on the Ghostface Radio link.<br>Newscasts reporting on the incident.  
>Facebook statuses, saying "click here"<br>Youtube videos with portions of audio and flashy subtitles.  
>Twitter trending topic exploding with posts: #GhostfaceRadio<p>

CUT TO:  
>INT. NILEY'S ROOM - NIGHT<br>Niley walks out of the bathroom blowdrying her hair, towel wrapped around her still wet body. She looks down at her phone on the counter: 20 missed calls from Kirby.

NILEY  
>Whoaaaa...<p>

Niley dials her back.

KIRBY (O.S.)  
>Niley, thank God!<p>

NILEY  
>What's up, Kirbz?<p>

KIRBY (O.S.)  
>You need to get here RIGHT NOW. Have you<br>got any phone calls?

NILEY  
>Other than you, NOPE!<p>

KIRBY (O.S.)  
>Okay, listen to me carefully... the killer<br>is after us.

The soundtrack thumps.

NILEY  
>(in her innocent way as usual)<br>How do you know that?

KIRBY (O.S.)  
>It's all over the news, you haven't seen it?<p>

NILEY  
>Kirby, you know I hate that show... plus,<br>I've been in the shower.

KIRBY (O.S.)  
>(clearly exasperated)<br>Okay... just get here as fast as you can.  
>Bring your security and don't answer any<br>restricted, unknown number phone calls!

NILEY  
>Yes, mother.<p>

KIRBY (O.S.)  
>Niley, I'm serious.<p>

NILEY  
>I'm coming, okay? Just give me a minute<br>to get dressed.

KIRBY (O.S.)  
>And bring some extra clothes, we might be<br>gone for awhile to lay low.

NILEY  
>(eyes open in excitement)<br>Are we finally going to Disneyland?

KIRBY (O.S.)  
>No, Niley! Now hurry the fuck up and get<br>over here, quit pussyfooting around!

NILEY  
>Ugh, geez. 'K, bye.<p>

She hangs up and goes back to blowdrying her hair. Her phone rings: it says Harold. She answers.

NILEY  
>Harold, are you going to Kirby's?<p>

HAROLD (O.S.)  
>Yeah, I'm on my way there. I'll pick<br>you up!

NILEY  
>Okay! I hate driving in the rain anyway.<p>

HAROLD (O.S.)  
>So what are you doing?<p>

NILEY  
>Drying my hair...<p>

HAROLD (O.S.)  
>Your pretty red hair... you know who else had<br>pretty red hair? Shirley...

NILEY  
>Ew Harold, don't compare me to a dead person!<p>

HAROLD (O.S.)  
>Hey Niley, I have a question.<p>

NILEY  
>Go for it.<p>

HAROLD (O.S.)  
>It's a couple of questions actually...<p>

NILEY  
>Well I don't mind...<p>

HAROLD (O.S.)  
>How many stripes does Freddy Krueger's<br>sweater have?

NILEY  
>(without even thinking of the answer)<br>Typically 9 or 10.

HAROLD (O.S.)  
>Uh, wh... okay, um, how many holes are<br>on Jason Voorhees's mask?

NILEY  
>(without missing a beat)<br>Inbreed Jason or zombie Jason?

HAROLD (O.S.)  
>Give me an average between both.<p>

NILEY  
>(she's quick)<br>Typically like 18 to 20.

HAROLD (O.S.)  
>Recite the spell from Child's Play!<p>

NILEY  
>(she gets really into this)<br>Auday duay dumbala. GIVE ME THE POWER, I BEG  
>OF YOU. Auday duay dumbalar! GIVE ME THE POWER,<br>I BEG OF YOU! La mwar de sway de pwa de yo. Se  
>swa seten de pwa de mor. Auday, deway dumbalar!<br>AWAKE!  
>(giggles)<br>What's with the weird questions, Harold?

HAROLD (O.S.)  
>(getting frustrated)<br>I HAVE ONE MORE. Name all four cenobites in  
>the first Hellraiser film!<p>

NILEY  
>Oh... that's a tough one.<p>

HAROLD (O.S.)  
>(in sweet victory, FINALLY)<br>Yessssss.

NILEY  
>Just kidding! Pinhead, Chatterer, Butterball,<br>Open-Throat and The Engineer.

HAROLD (O.S.)  
>WHAT THE FUCK? !<p>

NILEY  
>Why you getting so angry?<p>

HAROLD (O.S.)  
>FUCK YOU, BITCH!<p>

Harold (really Ghostface) hangs up. Niley gasps from his attitude.

NILEY  
>(nearly in tears)<br>Why is he yelling at meeeeee?


	18. Round 4: The Replacement Kill

*The following is the events leading up to the GRAND FINALE which will be posted at April 29th, 8 PM PST. Due to the popular demand of the story, when reviewing, please do your best not to spoil anything. Remember to be sensitive to those who may not have read yet. BE TACTFUL (nothing obvious like "OMG, I can't believe L died!" when L obviously stands for Louis...) If you can't find any other way to say it, use *MAJOR SPOILER ALERT* so at least you made your point known. Once again, thank you for understanding*

CUT TO  
>INT. ROY'S CAR - NIGHT<br>Roy chuckles on the other side of the phone while Ghostface does his best to keep calm and collected.

ROY  
>Told you she'd get it. She may not act<br>smart but up in that brain of hers...

GHOSTFACE  
>You saved ONE. Don't get cocky.<p>

ROY  
>I'm just sayin', saving the Rapid Fire<br>round for her... not the best idea. On  
>your part at least...<p>

GHOSTFACE  
>SHUT UP! SHUT THE FUCK UP!<p>

ROY  
>You know, sometimes you are just one way, one<br>second and the next you are, PHEW, out there.  
>This isn't uncommon with serial killers, in<br>fact your predictable mood swings are kind of  
>a let down. Are you bi-polar?<p>

GHOSTFACE  
>... I'm BI-WINNING.<p>

Roy takes a beat and scrunches his eyebrows: where have I heard that before?

GHOSTFACE  
>Perhaps a rapid fire round for Joseph won't<br>fair so well...

ROY  
>When are you gonna give it up?<p>

GHOSTFACE  
>When you realize what you've taken...<p>

ROY  
>You keep saying things like that but I have<br>no idea what you're talking about!

GHOSTFACE  
>And because of that, this is why this is<br>happening to you...

ROY  
>(face palms)<br>Whatever!

GHOSTFACE  
>I swear, your attitude is just umbearable.<br>I can't WAIT to see your face when you see  
>what I'm gonna do...<p>

CUT TO:  
>INT. JOSEPH'S CAR - NIGHT<br>Joseph's phone rings and he quickly answers. It's Kirby. Sidney rests her head on the window, looking out into the storm.

KIRBY (O.S.)  
>Where are you?<p>

JOSEPH  
>We're on our way back, just hang tight.<p>

KIRBY (O.S.)  
>Okay, Jo. See ya.<p>

They hang up. His phone rings again: restricted. He lets it ring.

JOSEPH  
>Fuck you, I ain't answering calls...<p>

CUT TO:  
>INT. BEVERLY'S ROOM - NIGHT<br>Kirby enters her mother's room to find her suitcases spread out across her bed. She looks around, Beverly is nowhere to be seen. She turns back around for the door - - Beverly exits the bathroom. Kirby turns and smiles at her mom. Beverly sighs, her phone in hand and throws it on the bed.

BEVERLY  
>Yes, dear?<p>

KIRBY  
>We're getting ready to leave in just a<br>few moments.

BEVERLY  
>Oh honey, I'm not going with you guys.<p>

KIRBY  
>Than why are your bags packed?<p>

BEVERLY  
>I have somewhere else to be, is that so hard<br>to believe?

KIRBY  
>... what could possibly be more important than<br>your own daughter's assured safety?

BEVERLY  
>Kirby, you're in good hands. And you can take<br>care of yourself.

Kirby stands there, almost finding it mind numbing to capture her mother's logic. She lifts up her shirt and shows her stomach - - giant gaping scares that can't be missed.

BEVERLY  
>Honey...<p>

KIRBY  
>This is what happened the last time you said<br>I could take care of myself. Three months  
>of rehab and therapy, survivor groups, nightmares,<br>prank phone calls until they were monitored,  
>and now - - this. And you know what the funny<br>thing is, mom? The biggest scar that I have  
>isn't the two ones that were caused by a knife<br>being dug into my abdomen. It's the one in my  
>heart... when I realized, just now, that you<br>are completely incapable of being a decent mother.

BEVERLY  
>How DARE you say that!<p>

KIRBY  
>(tears streaming but her face remains strong)<br>Your liquor was more important than me. Your  
>"friends", the nights out at clubs and dancing,<br>the weekend trips to Atlantic City, the men  
>you slept with behind dad's back - - and I'll<br>just stop there because I could go on FOR DAYS.  
>This is the last time that you and I are ever<br>going to speak...

Kirby walks out the room, not saying another word. Beverly zips up a briefcase, feeling a bit of remorse for her daughter's pain but almost at the same time thinking that everything her daughter just said - - was true.

CUT TO:  
>INT. ROY'S CAR - NIGHT<br>Roy continues to drive along, completely unsure of where he's going. But he's on the other side of the town, so there's only one place it could be...

GHOSTFACE  
>Joseph didn't wanna answer my calls. That<br>kinda hurts, Roy. I'm beginning to think  
>that I'm UNWANTED around here.<p>

ROY  
>Well, what can I say. You start killing<br>people, you lose friends...

GHOSTFACE  
>And from what I can see, he's not home<br>anymore... I guess I just have to get  
>THE NEXT BEST THING. Turn right on Plum<br>Tree Avenue.

The street is literally up next.

ROY  
>Wai-wai-wait, c'mon now.<p>

GHOSTFACE  
>Roy... I need my REPLACEMENT KILL. And she<br>was the only thing close by that I could use  
>to EFFECT you!<p>

ROY  
>She has nothing to do with this...<p>

GHOSTFACE  
>Did that stop you from hurting SO MANY people?<p>

ROY  
>Is this like... something I said on the radio<br>or something? FUCK!

GHOSTFACE  
>No, no, no... speaking of things said on the<br>radio, you keep cursing Roy, your FCC bill is  
>gonna be through the ROOF.<p>

ROY  
>Yeah, well, looks like you're gonna kill me<br>so no worries about paying that.

GHOSTFACE  
>Don't give up now, Roy, I'm having SO MUCH<br>fun. You know what the best thing about  
>killing Tess Martin is gonna be?<p>

THE SOUNDTRACK THUMPS.

GHOSTFACE  
>That since she doesn't belong to any clubs,<br>she has absolutely NO ONE around to protect  
>her. So I guess this works in my favor...<p>

ROY  
>Not if I answer my question correctly.<br>Which I will...

Roy parks in front of Tess's house and he looks inside. Most of the lights are off.

GHOSTFACE  
>You don't remember? You never killed the<br>cop...

The soundtrack rises...

GHOSTFACE  
>There might not've been a little girl...<br>but there IS your ex girlfriend. Hell,  
>I could kill her and stop right there,<br>say you planned the entire thing and that  
>my voice is just a recording. Something<br>you set up way before hand while you  
>drove to each location and killed each<br>person! Afterall, that knife in your  
>glove compartment with your prints all<br>over it will be found at her crime scene!

Roy opens the glove box - - the knife is gone!

ROY  
>That's it... I'm done playing your fuckin'<br>game!

GHOSTFACE  
>That's too bad. Because she's about to<br>start hers! Get to her before I do, Roy,  
>you might be able to save her life...<br>muahahahahaha.

ROY JUMPS OUT OF THE CAR AND RACES ACROSS TESS'S FRONT LAWN, AGAINST THE HARD RAIN FALLING AND STRAIGHT TO HER FRONT PORCH. HE SLAMS INTO THE DOOR, TRYING TO OPEN IT BUT IT'S LOCKED.

ROY  
>TESS, OPEN UP!<p>

The lights inside begin to shine on. ROY BANGS HIS SHOULDER INTO THE DOOR, TRYING TO BUST IT OPEN. THE DOOR SWINGS OPEN - - THERE'S A SHOTGUN TO ROY'S FACE. An old man points it directly in between Roy's eyes, a protecting look in his face and possibly years of combat before him that instantly say, "I won't hesitate to blow your fucking brains out."

OLD MAN  
>Get on your knees...<p>

ROY  
>Who are you...<p>

OLD MAN  
>GET ON YOUR KNEES!<p>

Roy puts his hands behind his head and slowly falls to his knees.

ROY  
>I'm sorry, sir, I think I have the wrong<br>house.

OLD MAN  
>You're damn right you do. I'm calling<br>the police. You move, I'm blowing your  
>head off...<p>

The old man turns to grab the phone... AND ROY JETS BACK TO HIS CAR. The old man notices and turns, INSTANTLY SHOOTING AT HIM.

OLD MAN  
>Don't you dare run from me!<p>

Holes EXPLODE from the wet ground behind him and he jumps into the driver seat. The old man betters his aim - - ROY PUTS THE CAR INTO DRIVE, HALF OF HIS BODY STILL HANGING OUT OF THE CAR AND FLOORS THE PEDAL. The shot SKIMS the back of Roy's bumper.

OLD MAN  
>Agggh!<p>

Roy sits down, driving normally and finds his phone in the passenger seat. He puts it to his ear - - but the holding music is playing. He turns up the radio and listens in - -

CUT TO:  
>INT. TESS'S BEDROOM - NIGHT<br>Tess sits up in her bed, dressed in her pajamas and her eyes nearly shut still. She has the phone to her ear, obviously a little flustered.

TESS  
>What do you want Roy, I just woke up.<p>

ROY (O.S.)  
>Hey Tess, tell me, where'd you moved to?<p>

TESS  
>Roy... we're not gonna do this again. We're<br>done, we've been done, it's been - - months.  
>I don't even know why you're calling me - -<p>

ROY (O.S.)  
>All these murders lately and you're all<br>alone, I'd just feel better if someone like  
>me was there to protect you...<p>

TESS  
>Is that really your reason?<p>

ROY (O.S.)  
>Yes, I promise.<p>

TESS  
>(sighs)<br>Fine. I'm just down the street, the  
>last house on the left. How soon will<br>you be here?

ROY (O.S.)  
>Sooner than you think.<p>

The door bell rings.

TESS  
>Roy, is that you?<p>

ROY (O.S.)  
>Yeah, I had a feeling this would be<br>your house...

TESS  
>(beat)<br>A feeling?

ROY (O.S.)  
>Well your car IS out front...<p>

TESS  
>Oh... right... well, I'll come right down and<br>answer...

INT. TESS'S LIVING ROOM - CONTINUOUS  
>Tess walks out of her room and starts to descend the stairs.<p>

ROY (O.S.)  
>Hey, real quick, remember that movie we<br>watched on our first date?

TESS  
>Roy, why are you bringing up "My Bloody<br>Valentine?"

ROY (O.S.)  
>Oh, so you do remember it?<p>

TESS  
>Duh...<p>

ROY (O.S.)  
>I'm having a hard time remembering, what<br>was the miner's name? The main bad guy?

TESS  
>Uh... I don't know. Jack? Tom? Haha,<br>who gives a shit anyway. I'm opening the  
>door now.<p>

Tess grabs the door knob... and she stops... she realizes this scenario is a bit odd...

ROY (O.S.)  
>Tess? You there?<p>

TESS  
>Yeah... uh, something came up.<p>

ROY (O.S.)  
>What?<p>

TESS  
>(sees her computer)<br>You know, uh, I think I remember the name  
>of that miner...<p>

ROY (O.S.)  
>Oh, do you?<p>

She quickly types in and searches "My Bloody Valentine."

TESS  
>(reading the cast list)<br>Yeah, uh... Harry Warden! There ya go!  
>That's it...<p>

ROY (O.S.)  
>Oh, good job! Now open the door...<p>

TESS  
>Still? But I got the answer right...<p>

ROY (O.S.)  
>Ofcourse still, it's raining bad out here!<p>

Tess goes back to her front door, still unsure if she should open. She slowly tip toes her way over there and slowly tries to peek through the side window next to the door. FROM HER POV - - the blind starts to lift by her tiny finger. It's dark and rainy, a bad combination when trying to look through small cracks and passed foggy class. She bends her head to try to see closer to the corner of the door... nothing.

A FIST BURSTS THROUGH THE WINDOW RIGHT NEXT TO HER HEAD. She screams and RUNS UP THE STAIRS. THE HAND GRABS THE HANDLE ON THE DOORKNOB and UNLOCKS THE DOOR, BURSTING THROUGH. GHOSTFACE STANDS AT THE FRAME OF THE DOOR, LIGHTENING ERUPTING BEHIND HIM IN THE DISTANCE. He looks to the side - - Roy's car is approaching. Ghostface SLAMS shut the door and CHASES TESS UP THE STAIRS. Tess pulls down her attic and climbs up, pulling up the ladder to it with her. SHE SLAMS SHUT THE DOOR. GHOSTFACE LOOKS UP AT IT, TRYING TO FIGURE OUT A WAY IN.

INT. ATTIC - CONTINUOUS  
>Tess crawls through the space and heads towards the window at the far end of the room pointing towards her backyard. GHOSTFACE BURSTS THROUGH THE FLOOR AND CLIMBS UP, CRAWLING AFTER HER IN PERSUIT.<p>

INT. TESS'S LIVING ROOM - CONTINUOUS  
>Roy bursts through the door and looks all around. Nobody is in sight.<p>

ROY  
>TESS! Where are you?<p>

He looks up and notices an unmissable hole in the ceiling with a small chair under it. He speeds up the stairs and jumps up the ladder.

EXT. BACKYARD BALCONY - CONTINUOUS  
>Tess opens the attic window and successfully gets to the balcony. She looks down - - it's two stories, but fuck it. She climbs up the railing and proceeds to crawl down. GHOSTFACE POPS OUT THE WINDOW AND STABS DOWN INTO TESS'S HAND, PINNING IT TO THE LEDGE. SHE SCREAMS OUT AND PAIN AND FALLS BACKWARDS - - but she doesn't fall off. THE RAIN HITS AGAINST GHOSTFACE'S MASK and TESS looks down, crying out for help. Her weight than PULLS HER HAND THROUGH THE KNIFE, NEARLY CUTTING IT HALF.<p>

Her skin SNAPS and her body wobbles ALL THE WAY DOWN AND SLAM - - ON TO THE ROOF OF THE WOODEN PATIO. She's ALIVE. Ghostface watches, dumbfounded that she didn't fall further into something more dangerous. He slams his knife against the ledge in anger and waits off to the side, ROY IS COMING.

The rain purs down on Tess, making it hard for her to crawl across the roof of the patio. She holds her hand, trying to keep it from splitting all the way in half up to her wrist. ROY POPS OUT THE WINDOW AND LOOKS OUT THE BALCONY AND SEES TESS.

ROY  
>Tess!<p>

GHOSTFACE  
>No, ME!<p>

GHOSTFACE grabs Roy and LAUNCHES him over the railing and SLAMMING HARD ONTO THE PATIO, BREAKING THROUGH THE MIDDLE AND SMASHING INTO THE TABLE, KNOCKING HIM OUT. Ghostface than climbs down a drain pipe and carefully walks across the creaking roof. Tess has almost made it to the ledge... but almost doesn't cut it. GHOSTFACE KNEELS DOWN AND INSTANTLY BEGINS STABBING HER IN THE BACK LIKE A MADMAN WITH NO END. Blood pours from her mouth and she almost slowly starts to fade away.

GHOSTFACE GRABS HER BY THE BACK OF HER NECK AND PICKS HER UP TO HER FEET WITH WHATEVER LIFE SHE HAS LEFT IN HER. HE PUSHES HER WITH ALL THE MIGHT ONE CAN CONTAIN AND SHE FLIES OFF - - HER BODY LANDING IN THE POOL - - HER NECK SLAPPING AGAINST THE LEDGE, BUSTING HER SKULL OPEN. Her body sinks in and the blood flows to the surface as the rain pours down into the pool, overflowing it. Ghostface looks down and we LOOK UP AT HIM, LIGHTENING CRASHING BEHIND HIM, LIGHTING UP THE SKY - - AND HE DISAPPEARS INTO THE NIGHT.

GOD'S EYE VIEW, ZOOMING IN - - Some time has passed as the rain trickles down Roy's face AND HE COMES TO. He stammers his way up, using the broken wooden table to help him stand. He looks into the pool and sees it's now a deep red... he turns around - THERE STANDS MITCHELL. He looks shocked but even more precarious is what he's doing there.

ROY  
>You son of a bitch...<p>

MITCHELL  
>What?<p>

ROY  
>I'm GONNA KILL YOU!<p>

ROY CHOKES MITCHELL AND THROWS HIM INTO THE SLIDING GLASS WINDOW.

MITCHELL  
>Wait! WAIT! What are you doing?<p>

ROY  
>YOU KILLED ALL THOSE PEOPLE!<p>

MITCHELL  
>I didn't kill anybody!<p>

Roy looks Mitchell deep in the eye - - he's a creep but he sure isn't a killer. BUT HE STILL SQUEEZES HIS NECK EVEN TIGHTER.

ROY  
>Than what the fuck are you doing here?<p>

MITCHELL  
>I've been listening on the radio! I just -<br>I just wanted to be wherever you guys were  
>next! That's all... that's all!<p>

ROY  
>Why?<p>

MITCHELL  
>Because... this is history in the making.<br>I didn't wanna miss it...

ROY  
>You're sick...<p>

ROY LETS HIM GO and RUNS OFF AROUND THE HOUSE. Mitchell stands there, looking at the blood pool. He gets queasy in his stomach and starts to follow after Roy.

INT. ROY'S CAR - CONTINUOUS  
>Roy hops in and immediately starts his car, DRIVING OFF INTO THE STORMY NIGHT. Mitchell runs up behind in the street and stops, watching him go. He runs back to his car and enters, FOLLOWING HIM BEHIND.<p>

Roy grabs his phone, seeing if he's still there.

ROY  
>YOU STILL THERE?<p>

GHOSTFACE  
>I would never leave my listeners...<p>

ROY  
>Well prepare to sign off...<p>

GHOSTFACE  
>NOT BEFORE I KILL KIRBY REED.<p>

ROY  
>You'll never get to her!<p>

GHOSTFACE  
>(chuckles)<br>Oh you just wait and watch to see what  
>happens next...<p>

CUT TO:  
>INT. POLICE STATION - NIGHT<br>The entire room is crowded next to the radio, listening in. In walks Kincaid and Pecard, clearly pissed off that they can't get this thing right.

KINCAID  
>(trying to hear)<br>What's happening?

The entire group immediately "SH" him. Pecard jumps into the group - - Kincaid is too cool for that stuff. He throws off his jacket onto a random chair and paces back and forth off to the side, listening in. Pecard gets the scoop quietly off to the side from one of the guys. Kincaid grows more impatient the longer it takes Pecard to relay this information over to him.

PECARD  
>The killer said he's going after Kirby.<p>

KINCAID  
>How? Her house is elbows deep in police.<p>

PECARD  
>I don't know but we should head over there.<p>

KINCAID  
>No... that's what he wants us to do. He's<br>toying with us again.  
>(sits down)<br>Think Pecard, there's no way he'd disclose  
>his next location that quickly.<p>

PECARD  
>Than what?<p>

KINCAID  
>I don't know.<p>

PECARD  
>I'm gonna listen in, see if I can maybe<br>come up with some clues.

Kincaid pulls on his lips and he thinks of the possibilities... there's no way they could kill Kirby... no possible way... in that moment, out the corner of his eye, he sees the door in what he can only interpret as slow motion. Out of the darkness from the outside - - comes two small circular objects making floating their way into the police department.

The cops at the desk listening in turn around as well... two grenades bounce directly into their path. This is the moment Kincaid has been waiting for his entire life... this is the moment he's dreamed about... when death stares you directly into the eye... and the only thing you can think about it... is the life you lead prior. The right choices... the wrong... it says it all on his face.

A grenade bounces off Pecard's shoe, landing directly beneath the desk with the radio. There's a moment's notice, they try to spread out - - but it's already too late. Mark Kincaid just watches - - as his entire life is about to come to an end in that very moment.

BOOM. The grenade explodes, erupting the entire police force crowded in the room into a dozen pieces. Pecard blows back with the rest of them, his body flying in the air like an orchaestrated masterpiece of destruction - - his bottom half of his body is completely blown off. Kincaid sits in his chair, watching the entire event unfold before him. The other grenade hits the back wall next to water cooler, right by Kincaid's side... it ignites. Mark closes his eyes... this is it. THE BLASTS BLOWS HIS BODY BACK AND FLINGS IT OUT OF HIS CHAIR & THROUGH THE WINDOW.

Flames hug the ceiling of the police department, engulfing it completely and spreading across everything, turning the computers, the desk, the body parts of the law enforcement, the paper work and obliterating all of Woodsboro's hopes and dreams... into ash.

*APRIL 29th at 8 PM PST, - - THE - FINALE - IS - HERE - -. DON'T MISS OUT ON THE BIGGEST ENDING IN ALL OF "SCREAM" HISTORY. RE-READ PREVIOUS CHAPTERS, REVIEW THE ONES YOU'VE FORGOT TO, GET UP TO DATE WITH THE CURRENT BODY COUNT & TELL YOUR FRIENDS TO START READING NOW BECAUSE YOU'LL WANT NO ONE YOU KNOW TO MISS OUT ON THIS EPIC EVENT THAT YOU'LL BE "DYING" TO TALK TO SOMEONE ABOUT WITHOUT SPOILING WHAT THEY'RE MISSING OUT ON. THE END IS NIGH - - AND IT'S ALL BEEN LEADING TO THIS - - THE GRAND FINALE! FRIDAY, APRIL 29th 8 PM, - DON'T BE LATE - YOU'VE BEEN WARNED.*

And remember to please be mindful of those who have yet to read these later chapters and try not to SPOIL anything from this chapter or the next!


	19. THE FINALE:  PART 1

*Due to the popular demand of the story, when reviewing, please do your best not to spoil anything. Remember to be sensitive to those who may not have read yet. BE TACTFUL (nothing obvious like "OMG, I can't believe L died!" when L obviously stands for Louis...) If you can't find any other way to say it, use *MAJOR SPOILER ALERT* so at least you made your point known. Once again, thank you for understanding*

CUT TO:  
>EXT. REED'S RESIDENCE - NIGHT<br>We montage between the different cop cars located outside of Kirby's house as they each hear the news that the police department, along with all of their friends, has been attacked. They look at their partners and in panic, turn on their cars, one by one, and race off to the police station to help out. Leaving Kirby's house - - unprotected.

CUT TO:  
>INT. DEWEY'S CAR - NIGHT<br>Dewey & Judy ZOOM passed the Woodsboro city line - - THEY'VE FINALLY ARRIVED. In the distance, smoke can be seen burrowing up in the rainy night of a storm that has calmed down at this point.

DEWEY  
>What the hell is that?<p>

JUDY  
>Dewey... go faster...<p>

CUT TO:  
>EXT. REED'S RESIDENCE - NIGHT<br>Niley drives up to the house and parks. She quickly jumps out and looks around, looking for the police that were supposed to be there. She runs up to the door and is about to knock - - it opens. She slowly makes her way in...

INT. REED'S LIVING ROOM - CONTINUOUS  
>Niley innocently looks around - - the house is stagnant, almost an eerie calm.<p>

NILEY  
>Kirby? Are you here?<p>

She looks around, slowly but surely.

NILEY  
>You guys didn't leave me, did you?<br>(beat)  
>I tried to come as fast as I could but<br>Harold didn't come pick me up like he  
>said he would...<br>(with such innocent sadness)  
>I think he's mad at me.<p>

Niley stands in the middle of the room, not sure of what to do now so she heads back to the front door.

NILEY  
>Okay, Kirby, come on out...<p>

Kirby appears at the top of the stairs.

KIRBY  
>Niley! You're here!<p>

NILEY  
>I know, yay, right?<p>

KIRBY  
>Hey, have you seen my mom - -?<p>

Kirby looks out the front door - - GHOSTFACE IS CHARGING DIRECTLY INTO THE HOUSE RIGHT AT NILEY.

KIRBY  
>Niley, look out!<p>

KIRBY SLIDES DOWN THE BANNISTER and NILEY TURNS AROUND and quickly, they both SLAM THE DOOR SHUT, HOLDING IT CLOSED.

NILEY  
>Oh my God!<p>

A KNIFE PENETRATES THROUGH THE DOOR AND THROUGH NILEY'S HAND!

NILEY  
>OH MY GOD!<p>

It retracts and Kirby sits down, pushing against the railing of the stairs to keep the door closed. THE KNIFE STABS THROUGH THE DOOR AND GOES LOWER AND LOWER, REALIZING IT'S NOT MAKING CONTACT WITH ANYTHING.

KIRBY  
>Niley, push that bookcase over here and in<br>front of the door.

Niley holds her hand in pain and runs over to the bookcase - - SLICE, SLICE, THE KNIFE INCHES TOWARDS KIRBY'S HEAD - - Niley pushes and begins to tip it. SLICE, SLICE - KIRBY MOVES HER HEAD - THE KNIFE BREAKS THROUGH WHERE THE BACK OF HER SKULL WOULD'VE BEEN. The door slightly opens, THE FALLING BOOKCASE PUSHES IT BACK CLOSED.

Kirby grabs Niley by the hand and leads her up the stairs.

KIRBY  
>MOM!<p>

Ghostface struggles with the door, it won't budge. HE EXPLODES THROUGH THE FRONT WINDOW AND INTO THEIR LIVING ROOM. He watches them go up the stairs and leaps towards them. Kirby quickly knocks on her mother's door - - it's locked.

KIRBY  
>Mom, open up!<p>

Ghostface gets closer STEP BY STEP.

KIRBY  
>(slamming against the door)<br>OPEN THE DOOR!

Niley pushes Kirby out of the way, stands back and KICKS the door open. They enter and Niley thinks quick, pushing the dresser in front of the door and Kirby helps.

INT. BEVERLY'S ROOM - CONTINUOUS  
>Ghostface slams on the door, in anger he's been beat again. Niley and Kirby stand back.<p>

NILEY  
>Okay, so what was your plan once we got up here?<p>

KIRBY  
>I just wanted to get my mom but after that, I didn't<br>have one!

NILEY  
>Are you serious? We could've just ran out the back<br>door than!

KIRBY  
>(totally confused and proud at the same time)<br>When the fuck did you get so smart?

They smile and hug, GHOSTFACE CONTINUES TRYING TO BREAK THEIR WAY IN. It stops... they look for a moment.

NILEY  
>Okay... let's go. We'll find your mother some<br>other time, maybe she already left!

BEVERLY (O.S.)  
>Kirby!<p>

Kirby stops and looks back at the door...

NILEY  
>It's a trick!<p>

GHOSTFACE  
>COME OUT, OR I'LL SLICE HER THROAT!<p>

Kirby walks to the door... Niley stays back...

NILEY  
>Kirby... this isn't a good idea...<p>

BEVERLY (O.S.)  
>Kirby, run!<p>

GHOSTFACE  
>SHUT UP!<p>

Kirby is conflicted, she doesn't know what to do.

NILEY  
>Kirby! Let's go!<p>

KIRBY  
>I can't just leave her out there!<p>

NILEY  
>It's what she would want...<p>

INT. REED'S LIVING ROOM - CONTINUOUS  
>Ghostface holds Beverly by her throat with a knife - - they wait there but nothing is coming out of that bedroom door.<p>

BEVERLY  
>You touch a single hair on her head - -!<p>

HE SLICES HER THROAT AND THROWS HER OVER THE RAILING, HER BODY CRASHING DOWN THROUGH THE CHANDELIER THAT CATCHES HER PANT LEG, LEAVING HER HANGING UPSIDE DOWN, THE BLOOD GUSHING OUT OF HER THROAT. GHOSTFACE RETURNS BACK TO THE BEDROOM DOOR, KICKING IT IN.

CUT TO:  
>INT. ROY'S CAR - NIGHT<br>Roy DRIFTS and SPEEDS down the streets of Woodsboro, phone still to his ear.

GHOSTFACE  
>There's only ONE way I'll let her survive!<p>

ROY  
>What is it, just tell me? I'll do anything.<p>

GHOSTFACE  
>One last question, non-movie related...<p>

ROY  
>Okay, fine!<p>

GHOSTFACE  
>But let me get to the prologue of all this.<br>You see, Roy, you're a killer.

ROY  
>What are you talking about?<p>

GHOSTFACE  
>Wasn't it YOUR idea in the first place that<br>set Charlie Walker off to go to Jill and kill  
>all those people?<p>

ROY  
>What?<p>

GHOSTFACE  
>Think about it, Roy! What did you first say<br>when you knew Sidney Prescott was coming back  
>to Woodsboro...<p>

ROY  
>I don't... I don't know! How am I supposed to<br>remember?

GHOSTFACE  
>Well you should! Because what resulted was a<br>massacre, you're liable for nearly a dozen lives!

ROY  
>I said... I said something like... wouldn't it<br>be funny if when Sidney came that more murders  
>started to happen or something like that!<p>

GHOSTFACE  
>There's more... it was almost uncanny to what<br>happened...

ROY  
>I said, whoever would survive that would be<br>famous, especially even more famous if Sidney  
>were to be killed because than they would be<br>the new sole survivor.

GHOSTFACE  
>Bingo.<p>

ROY  
>But it was a fucking joke!<p>

GHOSTFACE  
>You know what else started as a joke? Jason<br>in space. And we all know what that lead to...  
>You're personally responsible for the deaths<br>of EVERYONE involved in the Woodsboro Reunion  
>Massacre! And you wanted it done for your own<br>benefit so YOU could become the head of the  
>Cinema Club! And I want you to admit it...<p>

ROY  
>I'm not going to admit anything...<p>

CUT TO:  
>INT. GALE'S RENTAL - NIGHT<br>Gale is listening in, this is new to her. She listens closely to what's about to happen...

CUT TO:  
>INT. ROY'S CAR - NIGHT<br>Roy struggles with Ghostface on the other line.

GHOSTFACE  
>ADMIT IT AND THEY'LL LIVE.<p>

ROY  
>FINE! I'll admit it!<p>

GHOSTFACE  
>That's not all... you also have to say each<br>and every one of their names and IF you can  
>do that, they'll be spared.<p>

ROY  
>Oh God...<p>

GHOSTFACE  
>SAY IT. TELL THE WORLD, ROY! Tell everyone<br>what you know in your heart to be true!

Roy pauses for a moment and takes a deep breath... he looks on and settles in with the game. The music begins to rise...

EXT. REED'S RESIDENCE - CONTINUOUS  
>Joseph drives up and parks, quickly jumping out of the car. He looks back at Sidney.<p>

JOSEPH  
>I'll be right back, I'm gonna go get them!<p>

INT. REED'S LIVING ROOM - CONTINUOUS  
>Joseph stops at the door, instantly noticing something is wrong. He pushes through the bookcase and sees Beverly's upside down body, swaying and bleeding out onto the floor in a puddle.<p>

ROY (O.S.)  
>My name is Roy Popper... and I killed Charlie<br>Walker and Robbie Mercer.

GHOSTFACE  
>WHO ELSE? !<p>

ROY (O.S.)  
>(sighs and PUSHES THROUGH the names)<br>Marnie Cooper, Jenny Randall, Rebecca Walters,  
>Anthony Perkins, Ross Hoss, Kate Roberts,<br>Trevor Sheldon and Jill Roberts!

JOSEPH  
>Holy - shit.<p>

GHOSTFACE SEES HIM AND RUNS DOWN THE STAIRS. JOSEPH BOOKS IT FOR THE KITCHEN.

INT. REED'S KITCHEN - CONTINUOUS  
>Joseph thinks quickly and JUMPS IN A PANTRY. Ghostface RUNS IN, LOOKING AROUND AND BREATHING HEAVY, WALKING RIGHT PASSED THE PANTRY. ANGLE ON JOSEPH ON THE INSIDE, TRYING TO LOOK THROUGH THE CRACKS. Ghostface walks out of the room, continuing their search.<p>

GHOSTFACE (O.S.)  
>There's one more!<p>

ROY (O.S.)  
>I can't remember!<p>

GHOSTFACE  
>C'mon Roy, it's the most important one of<br>them all!  
>(beat)<br>Think!

Joseph slowly opens the pantry door and begins to sneak out. He begins to make his way back towards the stairs - GHOSTFACE APPEARS BEHIND THE CORNER. JOSEPH'S EYES WIDEN IN HORROR AS GHOSTFACE COCKS THEIR HAND BACK, READY TO SLICE DOWN.

Ghostface looks down - a KNIFE IS PLUNGED INTO THEIR CHEST. Joseph pulls it out and GHOSTFACE FALLS TO THE GROUND. We can hear the man inside the mask, spit and cough up blood. Joseph stands above him, victorious and kneels down. He rips off the mask - - MR. LEEDS.

CUT TO:  
>INT. ROY'S CAR - NIGHT<br>ROY'S EYES OPEN WIDE... he remembers the final person. He knows who this might be...

ROY  
>And Olivia Morris...<p>

GHOSTFACE  
>Now... we're getting somewhere! But<br>I'm sorry... you got the initial answer  
>WRONG. Now... THEY DIE.<p>

ROY  
>NO! GOD DAMMIT!<p>

ROY HANGS UP AND SLAMS THE PHONE IN THE PASSENGER SEAT, SPEEDING OFF.

CUT TO:  
>INT. REED'S KITCHEN - NIGHT<br>He bleeds out, LOOKING UP AT JOSEPH. Joseph doesn't feel a tiny inch of remorse. HE PLUNGES THE KNIFE BACK INTO HIS CHEST AND MOVES IN CLOSER.

JOSEPH  
>Funny... how two different people get the<br>same idea... right?

MR. LEEDS  
>Please - -<p>

JOSEPH STABS HIM IN THE STOMACH.

JOSEPH  
>Let me guess your motive... Survivors Group<br>teacher gets sick and tired of hearing his  
>ungrateful to be alive members and decides to<br>give them a lesson in how to appreciate their  
>lives by picking off a few of them after a slew<br>of murders. Am I right?  
>(twists the knife)<br>AM I RIGHT?

MR. LEEDS  
>I just want... her.<p>

JOSEPH  
>I'm sorry, Mr. Leeds... but she's mine. Now<br>you, in these last moments, just bask in your  
>glory about how you killed Carrie and Mariah and<br>three other cops... oh and let's not forget  
>Clark. You killing your accomplice like that<br>WAS impressive... but what have you done since  
>than? Hm? Granted, I was going after a completely<br>different set of people... but let's face it...  
>I'M RUNNING THIS SHOW. Don't worry, I'll make<br>sure you get the credit you deserve for your  
>kills but... what people will remember... is<br>how I electrified the radio waves like nobody  
>ever has in history. You - now YOU - you didn't<br>even call your victims on the phone. Did you?  
>Shit, that disgraces the Ghostface costume and<br>morale, buddy! Now do me a favor... and just - -  
>die a little?<p>

JOSEPH SLUGS THE KNIFE INTO MR. LEEDS'S CHEST ONCE MORE. He's gone. Joseph stands up, leaving the knife in his body and looks around the room. He goes to the sink and washes the blood off his hands. In behind him, walks - - MITCHELL. Joseph looks back and turns off the sink.

MITCHELL  
>So you found him, eh?<p>

JOSEPH  
>(passing him by)<br>Yeah... I'm gonna go tell Kirby.

MITCHELL  
>I don't think so.<p>

MITCHELL HOLDS A GUN TO THE BACK OF JOSEPH'S HEAD. Joseph slowly turns around.

MITCHELL  
>I heard everything you said... you're the<br>fuckin' killer. Or... one of two sets, I  
>should say.<p>

JOSEPH  
>Mitchell... I think you're... misreading<br>the entire situation here...  
>(turns around and steps in)<br>I'm not the - -

MITCHELL  
>I'll shoot! Don't move. And don't try to<br>play that shit with me, I saw Sidney in the  
>car paralyzed.<p>

JOSEPH  
>(smirks)<br>Have you even used a gun? You're holding  
>it all wrong...<p>

Mitchell looks down at his hand, trying to figure out what he's talking about. JOSEPH CHOPS MITCHELL IN THE THROAT and he falls back, TAKING HIS GUN. Mitchell holds his throat and tries to back up.

JOSEPH  
>Where'd you even get a gun from anyway?<br>You see, the way you REALLY hold a gun and  
>I MEAN REALLY, if you're gonna, haveta,<br>MUST FUCKIN' SHOOT SOMEBODY, is like THIS!

JOSEPH grabs a PILLOW AND SHOVES IT INTO MITCHELL'S FACE, SUFFOCATING HIM. He puts the gun to the pillow and PULLS THE TRIGGER.

JOSEPH  
>(sighs)<br>I probably just lost my biggest fan.

CUT TO:  
>INT. WOODSBORO POLICE STATION - NIGHT<br>Dewey's car BRAKES hard in front of the police station, now in FLAMES. He runs out, Judy following behind. He enters and looks at the mess. Judy stays a bit behind for a second... she sees Kincaid. He's squriming, trying to get up.

HICKS  
>(yelling into the station)<br>We got a live one!

DEWEY  
>Oh my God...<p>

HICKS  
>(to Kincaid)<br>I'll be right back, okay? I'm gonna get you  
>some help.<p>

KINCAID  
>(coughing up)<br>Thank you... thank you.

Judy runs in and stops, looking at Dewey who's looking into his office. Judy comes beside him and looks down. It's Martha, completely blown to piece. Dewey's eyes water up.

DEWEY  
>Is that Martha...<p>

JUDY  
>Whatever's left of her... Dewey!<br>(trying to snap him out of it)  
>We need to find out what's going on!<p>

CUT TO:  
>INT. REED'S KITCHEN - NIGHT<br>Kirby and Niley run down the stairs, Joseph throws the gun to the side and falls to the floor. Kirby screams at the sight of her mother and Niley holds her head, trying to comfort her.

JOSEPH  
>(pretending to be hurt)<br>KIRBY!

Niley's eyes shift and she runs to the kitchen, bringing along Kirby. She stops and gasps at the site of the bloody scene. Kirby, tears in her eyes, now witnesses it too. She looks down and sees Mr. Leeds.

JOSEPH  
>I got 'em... I got 'em both.<p>

KIRBY  
>That son of a bitch!<br>(kicks him)  
>YOU FUCKING PIECE OF SHIT, I TRUSTED YOU!<p>

She kicks in and STOMPS his face, Niley pulls her off.

NILEY  
>Stop! Kirby, I need to fix my hand, do you<br>have any bandages?

KIRBY  
>(trying to collect herself)<br>Yeah in the drawer by the sink...

Niley sits Kirby down in a barstool. All she can do is look down at Mr. Leeds, lifeless. She then pans her head over to Mitchell. Niley opens the drawer and takes out gauze, wrapping her hand in it.

KIRBY  
>(wiping her tears away)<br>What was their motive, Jo?

JOSEPH  
>(acting like he's in pain)<br>... He wanted to teach you a lesson... he  
>said... he wanted you to appreciate life again.<br>And Mitchell... he was just an accomplice.

Niley finishes wrapping her hand and she turns around, examining the scene herself. She notices something is - - off.

NILEY  
>Where's Sidney?<p>

JOSEPH  
>She's in the car...<p>

NILEY  
>Why would she be in the car? If anything,<br>she'd be the first one to barge in if the  
>killer was here...<p>

JOSEPH  
>Niley... you forget your role in all this.<br>YOU'RE SUPPOSED TO BE THE DUMB ONE.

Joseph grabs the GUN AND SHOOTS HER SQUARE IN THE CHEST. Kirby jumps back and watches Joseph in complete shock, her mouth completely agape. Niley looks down at her chest and the blood flows out. She smiles a tad bit, her breath taken away and falls back against the sink, sliding down and falling until - she's gone.

JOSEPH  
>Really Kirbz... I didn't want you to find<br>out this way.

Kirby jumps up and tries to run for the door. JOSEPH FIRES THE GUN, PIERCING A BULLET HOLE IN THE RIGHT IN FRONT OF HER. She stops, completely terrified of him now.

JOSEPH  
>HOLD IT RIGHT THERE, BITCH!<p>

HE SLAMS THE GUN INTO HER TEMPLE AND GRABS HER FACE.

KIRBY  
>WHY ARE YOU DOING THIS?<p>

JOSEPH  
>Kirby, you're a smart girl, figure it<br>out. What does your CONSCIENCE tell you?

KIRBY  
>(weeping)<br>Just tell me... please...

JOSEPH  
>(beat)<br>6 months ago... my sister was murdered...  
>an innocent... she didn't desrve an ounce<br>of what happened to her... and what did you  
>do? You didn't even fucking CARE. You<br>were her best friend, YOU, of all people  
>and what do you do the DAY after she dies<br>in one of the most brutal ways possible?  
>You go to Stab-a-Thon... you drink and have<br>fun, SMILE IT UP for everybody and invite  
>them to your house for a little after party<br>because GOD FORBID someone miss a fuckin'  
>STAB movie they've seen twenty god damn times!<br>A STAB MOVIE, DIRECTLY RELATED to cause of death  
>of Olivia. And you watched them like she<br>didn't even matter...

KIRBY  
>She did matter! I swear!<p>

JOSEPH  
>DID SHE, KIRBY? Is that why you didn't<br>go to her funeral? Hm? Some of her best  
>friends... people she LOVED and worshipped<br>didn't even bother because... they were too  
>busy worried about YOU. You and all your<br>pain and rehab and eating food through a  
>fuckin' straw! And it's not like you were<br>paralyzed, Kirby, you could've came! But  
>no... so along with you... and any of the<br>other punks in Cinema Club who went to  
>Stab-A-Thon and then DIDN'T - EVEN - HAVE -<br>THE DECENCY TO ATTEND MY SISTER'S FUNERAL,  
>GOT WHAT THEY HAD COMING TO THEM! Richie<br>and Shirley... Shirley, her own swimteam  
>mate didn't even bother to show because<br>Richie was too busy trying to seduce her  
>while she was her most vulnerable... understandable<br>from a male stand point, I totally get it!  
>But then they go ahead and fuck on the day<br>of her funeral and not make it in time... now that  
>is simply just WRONG. But they were a good<br>practice kill... and I gave the rest of the  
>Cinema Club members something they apparently<br>wanted... to be apart of something they adore  
>so much they can't even bother to mourn Olivia...<br>now they're immortalized, Kirby...

KIRBY  
>None of this will bring her back!<p>

JOSEPH  
>You think I'm stupid? You think I don't know<br>that? This is all about paying respect... that's  
>all I want you to do... c'mon... we're going for<br>a little ride!

Joseph pulls her hair and PUSHES HER through the front door and into the rain.

EXT. REED'S RESIDENCE - CONTINUOUS  
>Kirby trips and falls to the ground and Joseph GRABS HER and DRAGS her along. Joseph stops and sees Roy's car, bumped up and stalling, racing to Kirby's house. Joseph picks Kirby up all the way and holds the knife to her neck. Roy jumps out of the car and Joseph comes closer...<p>

JOSEPH  
>Don't do it, Roy... don't be a hero... or<br>I'll slice her right open...

ROY  
>Jo... please... don't hurt her. Take me<br>instead.

JOSEPH  
>Roy... I think I'll take you both. GET IN<br>MY CAR, NOW.  
>(waits; Roy is at a standstill)<br>NOW!

Roy jumps and walks over to Joseph's car and opens the backseat.

JOSEPH  
>You're driving, dumbass! How else am I<br>supposed to be threatening if I'm behind the  
>wheel?<p>

Roy goes to the front seat and enters the car - - he looks over at Sidney, paralyzed. Her eyes move and she's breathing but completely unable to move. Joseph pushes Kirby in the car behind Roy and he gets in as well, holding the knife back to Kirby's neck.

JOSEPH  
>You like what I did with, Sid? She's nice<br>and docile... now drive...

Roy turns on the car and puts it in 'drive', going forward.

JOSEPH  
>(whispering in Kirby's ear)<br>Oh baby, you're gonna love this!

MR. LEEDS BREAKS THROUGH KIRBY'S WINDOW OF THE MOVING VEHICLE AND ATTACKS JOSEPH. Kirby screams and Roy keeps driving while Joseph fights back.

JOSEPH  
>KEEP DRIVING!<p>

Joseph pulls Mr. Leeds all the way through into the car, his body on top of him and Kirby's. He PUNCHES Mr. Leeds in the face repeatedly and SMASHES HIS HEAD THROUGH HIS WINDOW - ONCE - TWICE - HIS FACE BREAKS THROUGH - BUT HE'S STILL ALIVE!

JOSEPH  
>Just fucking die already!<p>

Roy tries to take control of the car with all the havoc in the car, Sidney's body just bouncing around like a wet noodle. The car comes to a sharp turn and the car DRIFTS towards a light pole. He takes control of the car and straightens it out, the car practically sliding on to the side walk. He steers it off and Joseph throws Mr. Leed's half dead body half way out of the car. HIS FACE IMPACTS WITH A STREET LIGHT, HIS BODY SUCKING COMPLETELY OUT OF THE CAR. The car drives on and Mr. Leed's body rolls into the street, his brains & skull spewing out of his nose and onto the street. His dead body lays in the rain - - FINALLY HE'S DEAD.


	20. THE FINALE: PART 2

CUT TO:  
>EXT. GRAVEYARD - NIGHT<br>The car pulls up into the dark graveyard, damp and cold from the rain that's finally lighting up. Joseph exits the car, pulling Kirby out with him. Roy exits voluntarily.

JOSEPH  
>(to Roy)<br>Grab Sidney.  
>(waits)<br>DO IT!

Roy walks around and takes Sidney out. He throws her arm over his shoulder and gets her up to a stand - - she has some functions back but not at all. She's drowsy, unsure of where she is. Roy drags her along, following Joseph and Kirby deep into the graveyard.

They reach Olivia's grave and Joseph throws Kirby down to the ground. He looks over at Roy.

JOSEPH  
>Put her down on the other side.<p>

Roy carefully puts Sidney down to her knees. Kirby gets up and looks at Olivia's tombstone - - LIGHTENING lighting it up.

JOSEPH  
>Here we are, Kirby... where you should've<br>been from the very beginning... in more  
>ways than one. The fact that you should've<br>visited her a long time ago... and the fact  
>that you should be dead instead of her.<br>(beat)  
>Tell her you're sorry.<p>

Roy looks at Joseph with a "what the hell?" Kirby gets to her knees, weeping and trying to think of something to say.

JOSEPH  
>Tell her you're sorry you haven't come!<p>

KIRBY  
>Alright! Fine!<br>(beat)  
>Hey Olivia... it's Kirby... I miss you...<br>I know that I haven't seen you... and I  
>should've. I really, really should've.<br>You were... one of my best - - well,  
>considering Jill plotted to murder me,<br>you WERE my best friend. I just wish that  
>I... took the time before to realize that<br>and appreciate you. I love you and...  
>I just wanted to say I miss you.<p>

JOSEPH  
>(beat)<br>Is that really... the best you could do?

KIRBY  
>I don't know what else to say!<p>

JOSEPH  
>(looks to Sidney)<br>What about you, huh?  
>(slaps her - she reacts)<br>Oh, it's wearin' off now... you got somethin'  
>to say to my sister? Hm?<br>(beat)  
>Or can you still not talk.<p>

SIDNEY  
>I can talk just fine... prick.<p>

JOSEPH  
>(chuckles)<br>Oh, she's funny, Kirby. She looked even  
>funnier in all my ride alongs as she went<br>place to place as I killed everyone...  
>(gets in Sidney's face)<br>How did it feel knowing that you were  
>RIGHT there... and you couldn't save...<br>any of them?  
>(beat)<br>Tell my sister you're sorry.

SIDNEY  
>For what?<p>

JOSEPH  
>Oh Sidney... be considerate. This is ALL your<br>fault. You know that, right? If you would've  
>never came back... my sister would still be alive.<br>Granted, Jill and Charlie may still be fuckin'  
>whackos but who knows, something might've triggered<br>that a little bit longer down the line...  
>(beat)<br>But that didn't happen... did it?

SIDNEY  
>I'm sorry, Olivia... I'm sorry your brother is<br>such a piece of shit.

JOSEPH  
>(sighs)<br>Well... if you won't say sorry to me... maybe  
>you will... to someone else... GET UP.<p>

Joseph grabs her by the arm and stands Sidney up, Kirby following. Roy is standing there, looking at his surroundings to find a way out of this situation.

Out of the darkness, a dark figure comes forward. THE MUSIC RISES. GHOSTFACE SLOWLY WALKS TOWARD THE FOUR OF THEM.

GHOSTFACE  
>Looking around Sidney, all I see is names<br>that you've put here. Names of people coming  
>down from long lines of family. When one<br>dies, not just they are effected but everyone  
>else that is connected to them. The Riley's...<br>The Morris's... and especially...

Ghostface UNVEILS THEIRSELF -

MARTHA  
>The Meeks.<br>(beat)  
>Hello Sidney.<p>

Sidney is not even shocked anymore. Kirby and Roy however are completely fucking stunned.

JOSEPH  
>It took you long enough.<p>

MARTHA  
>Give me some credit. I had to roll some<br>grenades in and plant a fake body. Not  
>easy work.<p>

SIDNEY  
>(gritting her teeth)<br>WHY?

MARTHA  
>(smiles)<br>Oh... Sidney... c'mon now... I've seen WAY  
>too many Stab movies to know not to stand around<br>and monologue about my motives while you stall  
>me from killing you and buy yourself more time<br>to think of a way out of this situation.

JOSEPH  
>(laughs)<br>A better question is how. That's the best part!

MARTHA  
>You see, Woodsboro police is too STUPID to know<br>that I was in there the entire night making  
>phone calls while they sat around listening to<br>someone who was a room away. Also too stupid to  
>realize that the only phone calls that aren't<br>monitored and that can't be traced are their own.  
>Psh. Some real hot shots, right?<br>(can see Sidney isn't pleased)  
>Let's just chalk it up to insanity, Sid. It's<br>scarier that way.  
>(beat)<br>Or... we can just say... I was sick and tired...  
>of having to see my brother's face... and all I<br>could think about... was you. He died for you  
>Sidney... hell, he had the world's biggest crush<br>on you and I can't even figure out why.  
>(beat)<br>And the only way I'll even be SLIGHTLY pleased  
>is to know that I can watch his tapes... and<br>lovingly know, that the reason he was taken from  
>me... is gone too.<p>

Martha pulls out a gun.

MARTHA  
>One bullet...<p>

Martha hands the gun to Kirby then takes out a knife, holding it to Roy's throat.

MARTHA  
>You can go ahead and... shoot one of us...<br>but ofcourse, if you do that... one of  
>you will die with us.<p>

KIRBY  
>So what do you want me to do?<p>

MARTHA  
>Like I said... Sidney has to die. You're<br>gonna kill her.

The soundtrack thuds.

KIRBY  
>I'm not doing that.<p>

MARTHA  
>(holds the knife closer)<br>Then Roy here, who I've been playing a game  
>with over the phone all night while Joseph<br>drived around and did the dirty work, is gonna  
>have a new orfice in his head.<p>

SIDNEY  
>Kirby... do it.<p>

KIRBY  
>What?<p>

SIDNEY  
>(goes down on her knees in front of Kirby)<br>This will never stop, Kirby. Not until  
>I'm gone.<br>(looks up at Kirby, tears in her eyes)  
>They're right. I've killed all of these<br>people. And I'm still standing... it's not  
>fair. Tatum... Randy... Olivia... my own<br>brother... I can't even count how many  
>anymore. I can't even remember all their<br>names... I've lived a life... I became a  
>best selling author... and God forbid, I had<br>an entire franchise of horrible fuckin'  
>Stab movies. Now it's your turn. Do it...<br>(pulls the gun to her head)  
>DO IT!<p>

The scene now goes through a rapid fire of close ups as the music rises to an ALL TIME HIGH. Kirby starts pouring tears.

ANGLE ON - -

KIRBY  
>I'm not gonna kill you!<p>

ANGLE ON - -

SIDNEY  
>This is the only way...<p>

ANGLE ON - -

MARTHA  
>DO IT KIRBY!<p>

ANGLE ON - - Kirby, she shakes, clutching the gun's trigger.

KIRBY  
>I can't!<p>

ANGLE ON - -

SIDNEY  
>There is no other choice!<p>

ANGLE ON - - Roy, watching intensely.

ANGLE ON - - Joseph, who smiles wickedly.

SIDNEY  
>Kill me! Blow my fucking brains out!<p>

ANGLE ON - -

KIRBY  
>I don't want to!<p>

ANGLE ON - -

MARTHA  
>Let your life continue, Kirby! Give<br>yourself something none of the people  
>she's ever known in her entire life has<br>ever had!

ANGLE ON - -

KIRBY  
>There has to be another way.<p>

ANGLE ON - -

SIDNEY  
>It's the only way!<p>

ANGLE ON - -

KIRBY  
>Oh God!<p>

ANGLE ON - -

MARTHA  
>KILL HER!<p>

ANGLE ON - -

SIDNEY  
>You'll see me again...<p>

ANGLE ON - -

KIRBY  
>Please, don't make me do this.<p>

ANGLE ON - -

SIDNEY  
>In another life...<p>

ANGLE ON - -

KIRBY  
>I can't!<p>

ANGLE ON - -

SIDNEY  
>And you'll finally be free.<p>

ANGLE ON - -

KIRBY  
>Sidney!<p>

ANGLE ON - -

SIDNEY  
>I'll finally be free...<p>

ANGLE ON - -

KIRBY  
>No...<p>

ANGLE ON - -

SIDNEY  
>Pull the trigger... end it all now.<p>

ANGLE ON - -

KIRBY  
>I love you.<p>

ANGLE ON - -

SIDNEY  
>I love you, too.<p>

ANGLE ON - -

KIRBY  
>(winces)<br>I'm sorry!

Sidney closes her eyes... and SHE PULLS THE TRIGGER.

BLOOD SPLATTERS ACROSS MARTHA'S FACE, SHOCKED SHE ACTUALLY DID IT.

And then she realizes...

Joseph's body falls to the floor, a huge hole in his head. Kirby standing above him, PROUD. (BEAT FOR THE CROWD TO GO WILD) MARTHA RAISES HER KNIFE AND SCREECHES, READY TO STAB ROY IN THE TOP OF HER HEAD. BAM! A BULLET SLUGS INTO HER SHOULDER AND SHE FALLS BACK. Roy ducks out of the way and he looks up, Kirby couldn't have done it so who did...

GALE WEATHERS IN A HERO SHOT, GUN POINTED AT MARTHA AND WALKING CLOSER. (BEAT ONCE AGAIN, THE CROWD IS CHEERING THEIR FUCKING LUNGS OUT).

GALE  
>Sorry Martha... it's time to sign off...<p>

MARTHA  
>You bitch!<p>

Martha gets up and CHARGES HER. A SHOVEL SMACKS HER IN THE FACE BEFORE SHE GETS ANY FURTHER AND SHE FALLS TO THE GROUND, KNOCKED OUT CLEAN AND COLD. Roy throws the shovel to the ground, breathing heavily. It's finally over.

Sidney gets up, tears in her eyes and stands over Martha. She looks at Gale. This has become a reoccuring theme in their life that Gale already knows what to do - - she hands her the gun. Sidney points it at Martha's skull...

SIDNEY  
>No... I have an even better idea... she's<br>going to jail.

Sidney puts the gun down and hands it back to Gale.

SIDNEY  
>I'm tired of killing people.<p>

Sidney walks over to Kirby and gives her a hug.

KIRBY  
>You know I would've never really shot you,<br>right?

SIDNEY  
>(laughs)<br>I at least hoped so!  
>(looks at Roy)<br>Get over here.

Roy smiles and joins in on the hug. Gale watches, a proud moment for her. She only wishes a camera could capture it. Police lights shine from behind. Dewey and Judy run out of the car, gun drawn towards Martha. Judy bends down and rolls Martha's knocked out body over, cuffing her.

DEWEY  
>What the - -<p>

HICKS  
>I told you it was a fake...<p>

DEWEY  
>(looks at Gale and gulps)<br>Hi...

GALE  
>(smiles)<br>Hi.

DEWEY  
>... come here.<p>

Gale walks over and they embrace, kissing like they never have before.

HICKS  
>We're gonna need a medic, we have a suspect<br>in custody with a gunshot wound...

We CRANE UPWARDS from the graveyard and look at the scene as a whole. Sidney, Roy and Kirby in a big hug. Dewey and Gale, reunited like nothing was ever wrong. And Judy taking the bad guy away. And the sun is rising over the hills. It's gonna be a beautiful morning...

CUT TO:  
>INT. DEWEY'S CAR - DAY<br>Dewey drives while Gale is in the passenger seat, they hold each other's hand. Sidney, Roy and Kirby sit in the back seat as the car follows the ambulance to the hospital.

GALE  
>So what happened? Someone needs to write<br>a book on all this...

DEWEY  
>Nobody tell her!<p>

They all laugh - - THE AMBULANCE FLIPS IN FRONT OF THEM AND LANDS IN A CORN CROP. Dewey SLAMS ON THE BRAKES. Dewey jumps out and immediately runs over there. Gale exits but stays at the car.

EXT. FARM - CONTINUOUS  
>Dewey reaches the ambulance - - it's completely wrecked. The backdoor is open. He looks inside - - all of the crew is dead. He looks around - - Martha is to be seen nowhere.<p>

DEWEY  
>(into his walkie)<br>We're gonna need some help over here off  
>of the I-10, we have an ambulance crew in<br>bad condition and a missing suspect!

Roy walks over, almost not surprised this is happening.

Roy  
>Fucking horror movies... they never know<br>when to quit...

MARTHA JUMPS OUT OF THE CORN, A NEEDLE IN HER HANDS AS A WEAPON. Dewey pulls out his gun and readies to fire! A BLADE SLICES THROUGH MARTHA'S NECK IN AN INSTANT AND HER BODY FALLS TO THE GROUND, DECAPITATED. Roy and Dewey look up - - Kirby stands, breathing heavy with a corn slayer in her hands. She looks like a total BAD ASS. (Really long beat, they're gonna be screaming their heads off)

ROY  
>Right on...<p>

Kirby throws the corn slayer to the ground...

KIRBY  
>(walking away)<br>Let's go home...

ROY  
>(looks at Dewey)<br>If I wasn't before... it's official... I'm  
>in love with that girl.<p>

CUT TO:  
>INT. REED'S RESIDENCE - DAY<br>NILEY sits on a gurney, big smile on her face telling a story to the EMTs pulling her away.

NILEY  
>And then he's like, "you're supposed to be<br>the dumb one!" And he shoots me in the chest!  
>And then they leave and I throw off my jacket<br>to reveal my uber cool, blood-vest! It's like  
>a bulletproof vest with blood in it so when<br>people shoot you, they think you're dead! Such  
>a cool idea, right? And I'm all thinkin',<br>"ha, I might be the dumb one but I outsmarted  
>you!"<p>

Kirby walks up and hugs Niley big, stopping the EMTs.

NILEY  
>Kirby!<p>

KIRBY  
>I'm so glad you're okay.<p>

NILEY  
>Duh!<p>

KIRBY  
>For that... a special treat for you...<p>

CUT TO:  
>EXT. DISNEYLAND - NEW ORLEANS SQUARE - DAY<br>Roy and Kirby walk along the Rivers of America, smiling and happy together... holding hands. NILEY IS SURROUNDED BY A GROUP OF PEOPLE LISTENING TO A STORY AS SHE TELLS IT.

NILEY  
>And I'm all thinkin', "ha, I might be the<br>dumb one but I outsmarted you!"

The crowd cheers and they all walk off. Niley joins the happy couple.

NILEY  
>You know, I never get tired of telling that<br>story.

KIRBY  
>I'm glad, Niley.<p>

NILEY  
>(looking beyond and gasps)<br>Look!

Kirby and Roy look behind. Dewey is on knee in front of Gale and in front of the entire crowd at Disneyland. He pulls out a ring, Gale blushing.

DEWEY  
>(squining from the sun)<br>I know things were a little rough... but  
>I just wanted to fix it.<br>(places the ring on her finger)  
>Gale, will you renew your vows with me?<p>

GALE  
>(standing him up)<br>Ofcourse, Dewey.

They kiss and the crowd cheers. Off to the side, Kincaid and Sidney watch. Kincaid looks at Sidney, melancholy.

SIDNEY  
>Uh uh... not a chance, Mark.<p>

Sidney walks off and joins Kirby, Roy and Niley. Kincaid watches, laughing.

KINCAID  
>Ah... you'll be mine... you'll see.<p>

Kincaid looks down at his phone, it's ringing. He lets it go to voicemail and puts it back in his pocket, running off to catch up with the others.

"Runaway Baby" by Bruno Mars (.com/watch?v=itFTOaHzIN8) begins to play. We get to (0:06) and we - -

CUT TO:  
>INT. DISNEYLAND - NIGHT<br>MONTAGE - THE SONG CONTINUES, WE GET QUICK CLIPS OF THEM RIDING RIDES, HAVING A BLAST, LAUGHING, EATING, ENJOYING EACH OTHER'S COMPANY.  
>- The Fireworks<br>- Splash Mountain picture, Niley in the front doing a goofy pose with Mickey ears on  
>- Matterhorn, Space Mountain, Big Thunder Mountain Railroad<br>- Freeze frame on all the happy family together in a picture in front of the castle. The survivors. Sidney, Kincaid, Dewey, Gale, Roy, Kirby, Niley and even Judy is there.

We get to (0:29) and we -

SMASH TO BLACK - -

THE END

*Due to the popular demand of the story, when reviewing, please do your best not to spoil anything. Remember to be sensitive to those who may not have read yet. BE TACTFUL (nothing obvious like "OMG, I can't believe L died!" when L obviously stands for Louis...) If you can't find any other way to say it, use *MAJOR SPOILER ALERT* so at least you made your point known. Once again, thank you for understanding*

First and foremost, big THANK YOU to everyone that kept reading, reviewing and loving this story. I wouldn't have continued if it weren't for you. This script is dedicated to my LOVE for horror movies and to all my heroes in that field that keep making them for generations to come. I can only hope to do at least 1/10th of what they have accomplished.

Second, I just want to say that no matter who you are or what you do, you have a voice. And with your voice, you have the capacity to tell an amazing story. If you ever dreamed of being a writer or write currently, do NOT give up your passion. Continue learning everyday; read more, write more and share more because at the end of the day, we all just want a great story to hear. I admit, Scream 5 was not by any means my greatest work from a functioning writer's standpoint. I pounded it out night after night, maybe only doing about 2 hours or so a day working on it without any edits and posted it up immediately for you all to enjoy. In fact, I spent more hours PROMOTING it on IMDb (a site that did NOT respond to the story in the fashion that FF did), & other misc. horror sites. I have other original work that I have worked countless hours on and spent MONTHS pounding out just on one singular project and hopefully one day, you'll be able to see those visions come to life on a movie screen or on your TV set.

Other AWESOME Scream fanfictions I have been reading that I'd like to plug:  
>.nets/6931679/1/Whisper_to_a_Scream  
>.nets/6944255/1/  
>.nets/6924664/1/  
>.nets/6932276/2/Stab_5

With that being said, I loved the hell out of writing Scream 5. It was a blast from start to finish. And as soon as I started, I immediately knew - - that I couldn't just stop there. Ladies and gentleman, coming this May/June, if you ASK for it: SCREAM 6. See you than :)

When reviewing, if you have time, answer a few of these for me!:  
>1) Your favorite part<br>2) Your favorite new character  
>3) Your favorite returning character<br>4) Least favorite those first three from above  
>5) Least favorite...<br>6) Least favorite...  
>7) Most intense moment(s)<br>8) The best death (s)  
>9) Most surprisingshocking moment(s)  
>10) Your reaction to the killer reveals<br>11) How good was the motive(s)?  
>12) Who did you think the killer was from the beginning? Did it change often?<br>13) Will you read a Scream 6 written by me?  
>14) Have you referred this story to anyone else and if not already, will you?<br>15) Did the grand finale live up to everything presented before it?

*kinda speak in code to remember to not spoil anything!*


	21. New Q&A, CASTING, Body Count & Scream 6!

To get to the newest Q&A, scroll down after the two line breaks. Casting, body counts and a sneak peek at Scream 6.

(Posted after Chapter 5)

**Q: What made you want to write a sequel to the Scream franchise knowing it would never be produced?**

A: I love the Scream films, have since the first film came out. I've always enjoyed the world it created, the characters, the stories and always felt that I could take, no pun intended, a stab at it. After Scream 3, I felt that world was closed even though I longed for a Scream 4. Eventually, that came out and I loved it. Thought it left a lot open for many possibilities. Basically, at the end of the day, it's just an exercise for how I could see a Scream 5 going. I know it won't ever be produced and frankly, I wouldn't want to be. I'm too big of a fan of the Scream films to take it by the wheel. That's Kevin Williamson's story and I'd like to see how he'd finish it out.

**Q: Writing the story, what did you want to do to make it seperate from the other pack of fanfiction?**

A: Scream 5 fanfiction is big right now, especially with the continuing story of Kirby Reed. Everyone loved her character, including me. That's where I wanted the similarities between my fanfic and the others to stop. Everything else had to feel fresh and something different than the usual stuff being thrown around. People are still writing about "remakes" and stuff like that, which was covered in part 4 so I instantly knew not to touch that or copycat anything else from the saga. I wanted this to stand out on it's own two feet. So basically I figured a new plot device had to drive the story but in an essence, I still had to keep it Scream. So some of the movie sets it up like any other film in the franchise while the other half will take a very different approach. What I'm talking about ofcourse is the radio/On Air stuff. Ghostface has to be playing an elaborate game and have a really sick motive for what they're doing, not just a "hello, how do you wanna die" and jump out the window, kill, kill, spill the motive and end the story. That's too easy now and I think they knew that when doing Scream 4, which is why I'm sure that movie ended the way it did which was way out of left field and frankly, awesome.

**Q: Starting off, did you know where it was going or are you making it up as you go?**

A: I definitely know where it's going. I never do a project without it mapped out. You can set stuff up from the very opening line that way and people won't even notice until they hit the end. It makes it more fun for people to discover that. I also found it important to make sure that the kills are out of necessity to the story and move the plot forward, not just another "cool death scene." So the motive, the killer(s) had to be in my mind before I even typed a single letter.

**Q: At this point, people guess the killers right away in the movies and stories. What'd you do to combat that?**

A: Audiences and readers have learned right away now to suspect everyone. So people suspect everyone and when the end hits, they go "ah, I knew it." Of course they knew it, they thought it was each person in the story! So I gotta play with the expectations with that. Knowing readers will suspect everyone, it makes it that much more fun to throw people off with red herrings or the lack thereof. People understand the red herring game now and honestly, it has come to work in my advantage and to really make the ending a good, big twist. It complicates things for me as a writer because now I have to make it just that more complex. The trick is to learn how far to take it without making it overdone and covering too many tracks. It has to make sense and it has to logically work out.

**Q: Let's talk about returning characters for a bit. What's going on with them? Why isn't Sidney the main focus like the other films?**

A: I knew making Sidney the main character this go around would make it tired. How many times is a killer going to go after her? It's just starting to become unbelievable but that doesn't mean she can't be involved in the story. That's the fun part, how to include her without making it about her. And the same thing goes for Kirby, who's now recovering from her injuries 6 months ago. How do we make it not the predictable "passing the torch situation?" Dewey is back but if he wasn't before, he's a little more off his game this go around because he's distracted. He's going through a divorce and Deputy Hicks, also returning, is respectully trying to move forward with him since there was that odd romance going on there in part 4. As for Gale, she's off rich in New York from her new book, of course based off the Woodsboro Reunion Massacre. In fact, that's probably why Dewey and Gale are in the process of seperation. Another character I wanted to return is Detective Kincaid but he's a Hollywood detective so how do we get him out to Woodsboro? Once again, this is the fun stuff for a writer, to figure out ways to do that. Also returning is Martha Meeks, Randy's sister. What has she been up to since we last saw her in part 3? I felt she was heavily missed in part 4 and definitely could've popped up to give that presence of Randy somewhere in the film. They couldn't have visited her, called her up, shown her tombstone, whatever? Perhaps she has a family now, trying to move on; maybe she's a cat lady - I just really wanted to know what happened with her so I thought I'd bring her back to feed fans that curiousity. There's several other old characters making a comeback but there's also a few more that I want to leave open for part 6 :). In the end, it all has to make sense to the story, not bloating the movie up in sequel fasion to push everyone in there. It has to be integral or else it won't work.

**Q: What was the most difficult aspect of writing Scream 5?**

A: Writing for Ghostface. That's just an evil source of energy that I didn't know what I was getting into. It's not like writing other slashers where the killer just walks up, chops down and goes on to the next one - Ghostface actually has to think, manipulate and be absolutely psychotic. Writing deaths is easy but writing the mind behind those deaths is just frightening. As a writer, I like to inhabit the character so they have their own ebb and flow and becoming Ghostface, I really had to pull off from it without literally going insane. I had to tone it down a bit and I figured, what made Ghostface so scary in the first one? Because yes, he was crazy but he wasn't ALWAYS talking about killing you. It's when he was calm and then burst into fury that scared the crap out of people. So I wanted to get back to that essence of Ghostface, where there was a calm before the storm and creating that scary tension of knowing it's going to come soon when he just blows up. Plus, in Scream 4, Ghostface became a little joke-y. I tried to steer away from that so he doesn't become a Chucky or a Freddy. He has to STAY scary by just being normal and the humerous stuff just comes out like when a normal person just naturally talks, not Ghostface purposely trying to be funny or have a quip. I had a slip in the beginning scene but ya know, rarity is fine, it's just when it seems like every line the character speaks where it becomes borderline stupid. Also, I wanted to bring back the idea of the voice changer with normal people voices. I figured there were ways to REALLY mess people up with that in the complex story I was gonna get into. And also was the idea of screened calls by the police department. This creates bounds for Ghostface to leap over and it keeps the audience, hopefully, on their toes to see how things will be pulled off.

**Q: You're writing in screenplay format, why?**

A: I wanted to give that essence that yes, this is envisioned as a movie. And I cut it up into chapters so people can have that read experience as well. Because screenplays, a lot of things have to be cut down to keep things moving but the advantage of this, is I get to tell a full story without having to cut away too soon to keep the page-mark down under 120. Dialogue at times will run a little long but at least in the realistic sense and scenes can either be quick in effort of pacing of the suspense or really long in the effort to tell the story. So it's as if readers will be getting best of both worlds: to read a story as if it were a book being made into a movie without cutting out all the good stuff.

* * *

><p>(Posted after Chapter 8)<p>

**Q: There's been a crapload of deaths so far (7) and from the plot synopsis you gave when you first started, it seems the story has barely begun. How high will the body count go?**

A: Well, I won't go into the specifics of it but let's just say, as you mentioned, the story is barely starting. We still have to go through Roy's on air game with Ghostface, which I'm sure you know, will lead to only more deaths. Plus, there's still a crap load of characters to introduce in the second act.

**Q: So you just finished the first act, where's the second act headed?**

A: The first act just finished in this last chapter and a killer has already been revealed. I think the direction the story from this point and out is what makes my fanfic VERY different from the others. In terms of the Williamson model used for Scream 1, 2 and 4, this will be day 3. Basically the first day, it's the opening kill which is only a third of the first act and then day 2 takes up mostly Act 1 and half of act 2, while the last half of the entire story is dedicated to day 3 (which is usually the most exciting part of the movies.) Day 3 is all of Act 2 and 3 for mine, so if it wasn't exciting already, things are about to pick up big time. So the on-air game will begin in the next chapter or so, we're gonna meet the rest of the Cinema Club, Sidney and Martha Meeks come to town as well as Detective Kincaid once things get going with the central plot.

**Q: So with a caught killer, how is that going to work?**

A: Well obviously he'll be in jail. Interrogations are about to begin to try and find the other killer. As we have seen, these killers have been very brutal so far and will stop at nothing to finish what they started. So whether he escapes from jail or our own still secret Ghostface runs in, stabbing everyone to help him get out is the mystery. Ghostface can't do it all on his own! Or can he/she?

**Q: What's the fan reaction been like so far?**

A: Generally positive, luckily. At the time of writing this, 579 hits and 124 visitors in about 2 and a half days. I don't use fanfiction often so I don't know if that's necessarily good or bad. Plus I released it Easter weekend so I assume some people were busy and during the week, they'll catch up and find my story, I hope. Also, it's posted on IMDb so there might be more readers, which is why I was hesitant to post it there. I wanna track how many people are reading it! But only a few reviews so far and that's what I like to see. A bunch of people can be reading but if they're not reviewing it, I don't know if they like it! Maybe they're curious to see how it ends, maybe they're just waiting for Sidney to pop up, who knows; and that's the thing - - I wanna know what people think and not be wondering if they like it or not! So to all the readers out there, please review!

**Q: You've been reviewing quite a lot of other Scream fanfics. Why?**

A: Well first, I love to read. Two, I love Scream. And three, like I said, I feel like reviews are a crucial part in boosting the writer's need-to-write process. Honestly, if I didn't have even one review and it still had been a couple of days, I would probably just stop writing and go back to my normal work. But I give constructive criticism, I don't like just flat out saying I liked or didn't like stuff. There's always room for improvement and I want the writer to know exactly what it is that needs to be fixed and what's working. I get very detailed with it and the reviews get pretty lengthy but it's all for their art and most of the time, I get private messages back with a thank you. So I'm helping their need to write, their story, I get a good read in and then someone acknowledges me for it and I feel good afterwards. It's a win all around. Plus, I just wanna make sure I'm not copying anyone else's stuff. Luckily, for what I have planned, I haven't come across anything that resembles what I'm trying to do with this movie EXCEPT one where I read the opening of one and it took place at the Mackenzie's house. It was an awesome fanfic too and it has quite a few fans so I thought I'd immediately change that and simply change the last name of the character simply to just Mack. There's a slip in there somewhere that I forgot to change where a character says "Mackenzie" but to anyone who is wondering, it's just a typo from the remnants of an earlier conception of the story. BUT if anyone wants me to read their stuff, make sure to review my story and also let me know that they have a story they want me to review!

**Q: So is a Scream 6 in the cards?**

A: Definitely. I came into Scream 5 knowing that Scream 6 was around the corner. I set it up so they would be directly correlated. That's the scope I'm going for with this story - it's too big to be held in one movie. I want it to be EPIC. Planning out Scream 5, it only made sense that Scream 6 would have to continue the story. Not pulling any punches with cliffhangers or anything but the end will definitely leave you wanting more. But I promise part 5 will have a definite ending. I don't wanna cheat the readers into thinking they're only reading one story and have to go read another one to have it all finished. HOPEFULLY over an amount of time, enough people will read this one and have the desire to read 6.

* * *

><p>(NEW Q&amp;A, after being finished)<p>

**Q: For anyone who might be confused, who killed who?**

A: Here is a simple body count chart that I devised:  
>Shirley - Stabbed in the chest, gutted [Joseph]<br>Richie - Stabbed in the back, gutted [Joseph]  
>Carrie - Stabbed in the chest [Leeds]<br>Mariah - Stabbed all over while suffocating [Leeds]  
>Cop #1 - Stabbed in the throat [Leeds]<br>Cop #2 - Stabbed in the back [Leeds]  
>Cop #3 - Club through the eye [Leeds]<br>Clark - Throat slashed & eyes gouged (off screen) [Leeds]  
>Mona - Stabbed and dropped onto hood of car (off screen) [Joseph]<br>Louis - Wrist and ankle smashed, saw impalation and smashed by falling windows[Joseph]  
>Harold - Throat slit (offscreen) [Joseph]<br>Tess - Thrown out of window; stabbed in the back and neck broken on ledge of pool [Joseph]  
>Pecard &amp; Half of The Police Department - Grenade explosion [Martha]<br>Beverly - Throat slit, thrown onto chandelier [Leeds]  
>Mr. Leeds - Stabbed in the chest, stomach and face crushed against light post [Joseph]<br>Mitchell - Shot in the head [Joseph]  
>Joseph - Shot in the head [Kirby]<br>Ambulance Crew - Stabbed (offscreen) [Martha]  
>Martha - Shot in the arm, decapitated [Gale &amp; Kirby]<p>

**Q: And once again, HOW did the killers do it?**

A: Let's start off with Mr. Leeds. Mr. Leeds has an eerie agenda once he hears of the murders that occured the night prior: he wants to kill off some of the "ungrateful" members in the Survivor's Group to stir them up, make them appreciate being alive. He quickly hires Clark to assist him in the few or so murders, using the Ghostface mask as a means to stir things up. Clark is told to kill Mariah, which he can't find himself to do so Mr. Leeds ends up doing the duty. Knowing Clark doesn't have a killing bone in his body, he instructs him to go after Kirby, knowing he'll fail and hopefully bring Kirby closer to him. Leeds kills off all the cops, ducks in the bushes and takes off the costume and waits for Clark to come in. Clark is caught and his job is finished, so Mr. Leeds murders him off. We also know Leeds had a weird obsession with Kirby and his intent wasn't necessarily to kill her. You'll notice he's only trying to lure her out at the end and he's only REALLY going after everyone else. He wanted to kill everyone else and leave her to be with him alone, which he would've succeeded in doing if he were to have killed Joseph and eventually Niley too.

Now Joseph and Martha: this one may seem a bit tricky but it's pretty simple. Let's start with how they met - - Joseph may have known Roy was trying to contact Martha to come in for an appearance. After failed attempts, Joseph tries to level with her by trying to connect on the level that they both have someone who has died from these attacks. One thing leads to another and they than plan it out for whenever people would be the most immoble: during the storm. Joseph steals Shirley's phone and sends it to Martha in the mail so she can make the phone call while Joseph will be doing the dirty work. Martha than comes to make her apperance two days later, purposely thrashing her own hotel room so she could be put under watch at the police station so she can than make the phone calls and ofcourse, seem innocent. One thing they did not anticipate, however, was Leeds starting a body count of his own but this eventually worked in their advantage by confusing the police as to which direction the killings were going and them thinking it was all apart of one deliberate attack when really it was two different ones.

**Q: Who do you imagine being cast in the film?**

A: Roy will be an unknown. There has to be no prior conception of the actor in order to feel more relatable to him. Plus, this will help work more on casting actual talent instead of look or prestige, also giving a huge role (not the main one so it wouldn't be too big of a risk) to an up and comer, potentially skyrocketing their career.

Other roles to be played by unknowns: Mariah, Mitchell, Carl & Harold

Shirley and Richie: Two very likable, Hollywood up and comers. Mega stars would risk annoyance of people, unknowns would risk a level of lack of caring for the opening scene.

Cast:  
>(in semi-alphabetical order, like always)<br>Sheriff Dewey Riley_David Arquette  
>Sidney Prescott_Neve Campbell<br>Detective Mark Kincaid_Patrick Dempsey  
>Kirby Reed_Hayden Panettierre<br>Deputy Judy Hicks_ Marley Shelton  
>Louis_ Jimmy Bennet<br>Beverly Reed_ Julie Benz  
>Carrie Stout_Elizabeth Gillies<br>Niley Krinkey_Ariana Grande  
>Tess Martin_Sarah Hyland<br>Officer Pecard_Ryan Kwanten  
>Martha Meeks_Heather Matazarro<br>Joseph Morris_Callan McAuliffe  
>with<br>Mr. Leeds_ Ian Samerhalder  
>and<br>Gale Weathers_Courtney Cox  
>s.g.s<br>Randy Meeks_Jamie Kennedy  
>also<br>Ghostface (voice)_Roger Jackson  
>Ghostface (stunts)_Dane Farwell<p>

I really wanted a cast of actual teens or at least people who look it, considering that if this were to be filmed, it'd be in 2012. A lot of fanfic writers cast actors like Nina Dobrev or Emma Stone in their fanfics, yet I'd argue they look very college-ish. I highly suggest to those who don't know these names to look them up on IMDb. Also, to get more of an idea of Niley, look up "Victorious" clips of Ariana Grande. She's flippin' hilarious. Elizabeth Gillies is also on that show. For Mr. Leeds, I was looking for someone who looked relatively young, could be very enduring, comforting but also creepy at the same time. I figured with the Vampire Diaries ties to Williamson and all, Ian was the perfect candidate. Plus he's not overblown famous yet but still has a good enough fan base to pull the target audience in. My next guess for him was Justin Bartha but his voice is too comical.

**Q: Your favorite scene? Least favorite?**

A: The graveyard scene, I think it has a great reveal in there and it's totally appropriate to the franchise. Plus the Kirby with the gun to Sidney's head thing is really intense stuff. I really wanted people to think that yes, this is the end of Sidney and be totally heartbroken about it but also be kinda acceptive about it since it's done in such a dramatic, emotionally impacting way. Luckily, Kirby notices Gale in the distance and blows Joseph's brains out instead. But to keep things intense and audiences ready to be completely shocked once that gun fired, I kept that little tidbit of information out :) As for my least favorite, I'm not a big fan of the Carrie in the office scene, especially since a "second kill" type scene comes a bit after with Mariah which I think is ten times more intense. It seems like that portion of the story kinda drags because of it but it was necessary to show that there is a killer going after the Survivors Group. Otherwise, with just one person being picked off, it wouldn't have worked as well or two people being picked off in the same location could've made it just seem like an isolated incident The stakes had to rise and so it's necessary for that purpose. Otherwise, I'd chop it out in an instant but it does build some good suspense, and it makes Carrie a bit more likable so it's not completely useless but it just slows things down a bit.

**Q: Favorite character arc?**

A: Sidney's because in the beginning, she's just in it to kick some ass and even be willing to kill people. She is soon feeling more guilty about the thought of death, which was the purpose of the Mrs. Riley scene but she also feels like she has to do it to protect. But at the end, she realizes that she can still win without killing Martha and instead, send her off to jail, which I thought would make her character for this specific story come full around. Ultimately, it isn't Sidney doing the killing but Kirby instead but that was due to necessity. In ways, Sidney felt like she was being no better than the killers themselves and the whole story, if you pay attention to her scenes, you'll see that theme hitting particulary hard once you realize where she ends up emotionally at the end.

**Q: Let's talk about Dewey's story for a second...**

A: Dewey and Judy's plotline was only used to get them out of the equation. We had to get them out of there or else the case might've been solved a bit too quickly. I wanted Kincaid running the show since he's been absent since part 3. But the whole romantic angle between Dewey and Judy felt kinda necessary, especially since Dewey and Gale reunite in the end. Do you think Dewey told Gale about that almost kiss? Most likely not and like all things that happen in the Scream world, the past always comes back to bite you in the ass so we'll see what the reprocussions of that might be in Scream 6.

**Q: Speaking of Scream 6, sneak peek?**

A: What I can tell you is that it takes place four years after Scream 4 & 5. Scream 5 had to take place a little bit after Scream 4 because I needed that recovery angle from Kirby. With too much time passed, she would probably be back to her normal stuff. Without it, there'd be no Mr. Leeds, without Mr. Leeds, there'd be no second string of murders and without that second string, it wouldn't have nearly made things as exciting for the Kincaid trying to solve the mystery moments or the ending when it's revealed Joseph is also a killer but of a different set. So four years from now, we get to see where everyone has ended up and plus, there needed to be this time frame to build up what's going to happen it. Something needed to be brewing for this go around for it to finally blow and four years seemed to be the right amount of time. Without ruining too much, the story will start off with Kirby who is now working as a screenwriter in Hollywood, so yes, we're returning to Sunrise Studios. We're also returning to Windsor College because Roy will be attending there and doing their radio show with Lennon, who is a returning character who kinda stayed under the radar for part 5. The interesting aspect about that is, they'll be in the same area for when Dewey was stabbed way back in part 2 so that'll draw out some comical moments about how they feel weird there. And we're also keeping things in Woodsboro with Dewey and Gale.

**Q: And what about Sidney, Kincaid, Niley & Hicks?**

A: Those I'll leave secret until the story starts but they are all returning. I will tell you that Sidney, Dewey and Gale are returning to the limelight though since they were kept out of Scream 5 for the majority but this story is mostly about them and it has to be: I'm writing this as the last one and it's not the last Scream without doing their characters justice. So in a way, it'll be 55% Sidney & Co. and 45% Kirby & Co.. A lot of different stories going on that eventually have to mesh together but I think it comes with the territory: you don't write Scream 6 without making it as epic, intense, bloody and insane as possible. Scream 6 will make Scream 5 look like a walk in the park. It'll be the end all, be all, Scream film and it'll bring a DEFINITE close to the entire saga once and for all. But for what occurred in Scream 5, what's occuring in Scream 6 will definitely make sense for it to be happening all over again and I'll be using a new plot structure like I did with Scream 5 to make it seem fresh and new. Gotta keep it ahead of the game and gotta keep it evolving but most importantly, you still gotta keep it Scream.

**Q: Now that it's over and Scream 6 is in the future, what was the fan reaction to Scream 5?**

A: I promoted the hell out of Scream 5 for days. I promoted it more than I actually wrote the damn thing. It's all over different forums so it takes a bit of time to keep track of it all. But the fan reaction has been pretty positive and the word that keeps popping up is "amazing!" As for the total numbers of the story, I'm not sure if they're good or not because I don't post often on fanfiction. But the first four days, I was getting on average 250 hits with about 50 visitors. I really did think that was a lot but I felt like I could get more and I wasn't sure what was making the difference. I thought the name at the time, "Ghostface Live & On the Air" was a bit silly, maybe a bit confusing and didn't really say READ THIS so I thought maybe if I changed it to something a bit more "cool" people would read it. So the first four days it was that title, I changed it one night to "Ghostface Radio" and I woke up the next morning and the hits and visitors doubled. Literally doubled. From 250/50 the first four days, the next four days was 570/100. So the total for the 8 days, one of them where I didn't update which was the day after I posted the finale, is 3,161 hits and 578 visitors (someone click review and tell me if this good, normal or bad!) Today is the first day of May, and I haven't updated but it's still surprising to see people are reading it without me putting it up to the top of the list by updating it because right now it's about to pass the first four days mark at 3 PM with 233/47, which I think is saying alot for where it started to now. Doubling the audience is pretty cool. It's almost like watching box office numbers.

**Extra review questions:**

1) Cussing - - too much in Scream 5? Tone it down for Scream 6? Or did you not notice/care?

2) The screenplay format mixed with some novel like ideas, keep it the same for Scream 6?

3) How would you feel about music being integrated into the story to help set tones and feels? Putting in links when appropriate from youtube to accompany the story?

4) Speaking of music, the ending song to Scream 5. The scene was meant to be a bit overly happy and cheesy but did it work? Did the almost ironic lyrics help make for an almost ironic ending?

5) Speaking of the end scene, did happy and cheesy fit for a happy ending, or tone it back a notch?

6) There are a few moments deleted from Scream 5. Interested in an extended edition?

7) Did Scream 5 seem like it would UP the scare factor that has been kinda missing from the Scream films?

8) Hypothetically, Kevin Williamson calls and says to assist him in writing Scream 5. Take the job or tell him to finish it on his own? Would the style I'm trying to present work in the Scream films? Is there something the Scream films have been missing that you'd think I could give it an extra fresh boost?

9) If it were to be filmed and included in the Scream saga, where do you think Scream 5 would rank with the rest of the films and how?

10) 1 out of 10, 10 being high, rate Scream 5 as a whole.

11) Scream 6 is coming, how excited will you be? Should I make countdown notices for when it'll be posted and when updates will occur?

Next up, I'll be doing a somewhat of a running commentary for Scream 5 with hints and clues, more talk about character arcs, evolution of scenes, the trailer I imagine being made for it and more of a sneak peek at Scream 6!


	22. Scream 6 Teaser Trailer

**This is actually not the plot of the movie. However, this is a TEASER of things to come in Scream 6 and this line WILL be said... just not in the context you may be thinking. Enjoy.**

GREEN BAND TRAILER NOTICE POPS UP

"This preview has been approved for  
>APPROPRIATE AUDIENCES<br>by the Motion Picture Assosciate of America"

DARKNESS

(THE SOUNDTRACK THUDS - - does everytime, like a consistant heartbeat, when we see a new shot. OPEN ON: The empty streets of Woodsboro...]  
>GHOSTFACE<br>Citizens of Woodsboro, may I have your attention please?

[We pan up with Lennon from after bending down - GHOSTFACE WATCHES HIM FROM BEHIND A WINDOW]  
>GHOSTFACE<br>This is your host, your - - ghost host.

[Woodsboro citizens watching through a store window the news]  
>GHOSTFACE<br>And I have a proposition for all of you.

[Slow motion shot of ambulance driving off]  
>GHOSTFACE<br>Hasn't it been too long that your little town has been plagued with bad luck?

[Teens at a party, drinking and then a QUICK SHOT of them all SLAUGHTERED]  
>GHOSTFACE<br>Does it seem that the teenage population is dwindling before your very eyes?

[Kincaid approaches a taped off crime scene area]  
>GHOSTFACE<br>It almost seems year after year, another horrible crime is committed, - -

[Roy covers his mouth in shock, looking down but at WHAT?]  
>GHOSTFACE<br>- - another travesty occurs;

[A funeral - - BUT WHO'S?]  
>GHOSTFACE<br>- - another funeral and another memorial.

[Dewey holds up a ziplock bag, pointing his flashlight at a ring inside of it.]  
>GHOSTFACE<br>And tonight...

[Niley holds up a meme sticker with Ghostface's face on it to Kirby. THE THUD SMASHES EVEN HARDER.]  
>GHOSTFACE<br>It begins... ONCE MORE.

[A younger man, steps into a van and looks back, helicopter wind blowing in his hair and he grins...]  
>GHOSTFACE<br>Every hour, on the hour, UNTIL my demand has been met...

[A quick cut through all of the cast members.]  
>GHOSTFACE<br>One of you, WILL DIE.

[Gale has her head pressed against glass, phone to her ear and pleading with tears streaming down her face.]  
>GHOSTFACE<br>You want it to all stop?

[A door handle LOCKS.]  
>GHOSTFACE<br>You want it all to be safe?

[Sidney looks on at Kincaid, concerned.]  
>GHOSTFACE<br>BRING ME SIDNEY PRESCOTT...

[Ghostface PULLS his knife out of an body and looks passed the camera, ready to chase.]  
>GHOSTFACE<br>And not only will you have my undying graditude...

[Kirby stands at the top of the balcony of a movie theater, looking down like she can't believe her eyes.]  
>GHOSTFACE<br>But you'll be ONE - -

[The entire city in a complete riot.]  
>GHOSTFACE<br>- - MILLION - -

[A young woman, flips a huge stack of money across her face as if she's using it as a fan.]  
>GHOSTFACE<br>- - DOLLARS - -

[Back to DARKNESS.]  
>GHOSTFACE<br>- - RICHER!

[KNIFE SLICES THROUGH SCREEN.]  
>GHOSTFACE<br>... HAPPY HUNTING

"SCREAM 6"

May 5th... 11:59 PM PST... The end... BEGINS.


	23. Writer's Commentary: Part 1

**Chapter 1 - -**

FORESHADOWING: The first line by the operating system automatically foreshadows how Ghostface will be in the police station making the phone calls later on since the only calls that aren't recorded or can be traced are ones government related. Also a hint & clue.

TRIVIA: The car coming down the road that Shirley sees is indeed the killer, Joseph. The first time where the opening victim sees the killer coming almost an entire scene earlier before being threatened or their eventual death.

TRIVIA: Breaking Dawn, Part 1 was/is released in November of 2011, the month before and the same year this film takes place, making the Edward jab relevant.

TWIST #1: The voice changer having people's voices is in full effect!

TRIVIA: Mack was originally supposed to be Mackenzie until a similar idea popped up in another well known fanfic. There is a blooper/typo in this scene where the character actually says Mackenzie.

TWIST #2: The first time a fake body comes into play. Roman only pretended to be dead in Scream 3. Also a clue and foreshadowing.

FORESHADOWING: Ghostface asking Richie who the killer is in Stab 4 when knowing it's Randy.

TRIVIA: This is the first time since part 1 & 2 that the opening kill ends in someone screaming instead of the knfie ripping through the screen resulting in an off screen death.

* * *

><p><strong>Chapter 2 - -<strong>

TRIVIA: Kirby is driving the same SUV as she did in Scream 4.

"CARRIE: It's whatever." Indicating signs of ungratefulness in the Survivor's Group.

BRIDGING THE GAPS: Since the last Scream film, Kirby has been in recovery. We learn she was in therapy for 3 months after she was stabbed in the stomach.

"MR. LEEDS: Cheesy?" Once again, Mr. Leeds is feeling unappreciated for all the help he's been giving.

"MR. LEEDS: (smiles) Then I guess that's the best progress we can hope for." Not if he can help it...

* * *

><p><strong>Chapter 3 - -<strong>

RED HERRING #1: Louis's douchebag attitude

RED HERRING #2: Mitchell's interest in Stab despite the town's history

FORESHADOWING: Joseph's insistence that Kirby visit Olivia's grave

* * *

><p><strong>Chapter 4 - -<strong>

TRIVIA: This is the first time we hear Dewey's full name, most importantly his middle name, Theodore.

BRIDGING THE GAPS: It was never explained where Sidney lived between Scream 3 and Scream 4. Apparently, she's been living in Washington all this time.

BRIDGING THE GAPS: Gale is off in New York doing pre-promotion for her new book based on the last massacre that happened 6 months ago. Her and Dewey are also going through a divorce based on Dewey's disapproval of this.

TRIVIA: This is the first time a flashback is used. It's also used as a startling moment.

* * *

><p><strong>Chapter 6 - -<strong>

TRIVIA: The radio station Roy DJs on is 99.5 Scream radio... I don't think we need to point this one out...

BLOOPER: Roy says Westboro instead of Woodsboro.

FORESHADOWING: Roy gives the weather alert on the thunderstorm coming in, which will effect the conditions of the finale.

FORESHADOWING: Roy and Kirby have an undeniable attraction for each other in this scene.

TRIVIA: Trick 'R Treat is a well known cult horror film which didn't get released theatrically. After many years on the shelves, it was finally released onto home video.

BRIDGING THE GAPS: Kirby explains why she is once again in her senior year at high school instead of going onto college because of her extensive rehab.

RED HERRING #3: Mitchell's creepy phone call to the radio show.

* * *

><p><strong><span>Chapter 7 - -<span>**

RED HERRING #4: It's revealed that Louis might be a woman abuser.

TRIVIA: Tess is the one talking to Mariah in this scene. It's revealed later that Tess is Roy's ex girlfriend.

RED HERRING #5: The fact that Tess suggests Mariah go to the gym where she'll be eventually murdered.

HINTS & CLUES: Clark is the only one in the entire gym and then is missing when Mariah comes looking for him.

TWIST #3: It is revealed early on that there are more than two killers in the locker room scene.

TRIVIA: Mariah was originally going to be simply killed by Ghostface in the shower but after the lack of a good chase scene for Carrie's death, a more elaborate scene played out to up the suspense level at this point of the story and to try to avoid the thought of readers thinking the story is going to be repetitive, turning them off from the story.

HINTS & CLUES: The first Ghostface (Clark) backs down from killing Mariah, which results in her being killed viciously by the other one (Mr. Leeds), which leads us to assume that Mr. Leeds worked alone on killing Carrie, since Clark was at work.


	24. COMING SOON

Dying to Scream some more?

The EXTENDED EDITION, coming this April!


End file.
